THE  LIBRARY 

OF 

THE  UNIVERSITY 
OF  CALIFORNIA 

LOS  ANGELES 


THE 

COMPENDIUM  OF  TACIIYGRAPIIY : 

J&.0. 

U     fEXAS 

LINDSLEY'S  PHONETIC  SHORTHAND 


EXPLAINING  AND  ILLUSTRATING  THE  COMMON  STYLE 
OF  THE  ART. 


BY  D.  P.  LINDSLEY. 


"Now  what  natural  obstacle  is  there  njrninst  the  formation  of  written  signs,  which 
will  be  indefinitely  shorter  .than  that  which  constitutes  the  English  Language,  or 
the  Language  of  any  other  people  V  *  *  *  Let  the  system  of  written  signs  be 
reduced  to  a  brevity  and  simplicity  corresponding  with  that  of  spoken  sound,  and 
there  is  no  reason  why  the  hand  should  not  be  able  to  k'cep  up  with  the  voice,  and  a 
man  write  as  fast  as  he  can  speak." — Horace  Mann. 


SECOND    EDITION. 


BOSTON: 

OTIS    CLAPP,    3    BEACON    STREET. 

NEW  YORK :  SCHERMERHORN,  BANCROFT,  &  CO.,  130  GRAND  ST. 
PHILADELPHIA:  SCHERMERHORN,  BANCROFT,  &  CO.,  512  ARCH  ST. 

1805. 


"  .-  ' 


LINDSLEY'8  PHONETIC  SHORT-HAND. 


THIS  new  system  has  already  found  its  way  into  all  parts  of  the  country. 
Its  amazing  simplicity  and  practicability,  everywhere  conceded,  are  ap- 
plauded most  enthusiastically  by  those  who  have  spent  years  in  a  fruitless 
endeavor  to  master  the  intricacies  of  Phonography.  We  have  room  for  only 
a  few  extracts  from  among  the  thousands  of  commendations  that  have  been 
sent  us. 

From  the  Hon.  Horace  Mann. 

"If  I  understand  you,  you  have phonografied Phonography,  and  therefore 
have  reached  the  very  thing  which  I  had  in  my  mind  when  I  wrjte  upon  it 
many  years  ago.'' 

From  A.  Royce  Esq  ,  of  Cleveland,  Ohio. 

"Your  plain  literary  style  (uf  short-hand)  is  one  of  the  great  things  of 
the  age.  The  more  I  use  it,  the  better  I  like  it.'' 

From  A.  T..  E.  Clark,  Esq. 

"  The  fact  that  I  have  adopted  your  system  after  having  reduced  several 
other  systems  to  practice,  in  seeking  for  the  best,  speaks  as  much  as  I  can 
express  in  any  other  way." 

From  L.  M.  Guernsey,  Ed.  True  Citizen. 

"  We  say  without  hesitation  that  the  system  of  Prof.  Lindslcy  is  the  only 
practicable  one  we  huve  met  for  the  ordinary  scholar,  who  cannot  devote  the 
best  part  of  life  to  the  study  of  rapid  writing." 

From.  Rev.  Wm.  Pittenger,  author  of  The  Great  Railroad  Adventure. 
"  I  have  high  hopes  for  Tachygraphy.  I  find  it  to  be  of  more  and  more 
use  to  me,  and  this  makes  me  believe  that  it  will  be  of  use  to  others.  I  now 
write  it  with  an  ease  that  I  do  not  think  I  could  ever  have  attained  in  Phonog- 
raphy, although  I  have  not  studied  it  one  tenth  as  much.  We  only  need 
time  and  enterprise  to  make  Tacbygraphy  the  common  Avriting  of  the  land." 

From  Rev.  A.  C.  Row,  Chaplain  and  A.  A.  D.  C.,  Third  Div.  Fifth  Corps. 

"  I  am  much  pleased  with  the  system.  I  found  it  of  the  greatest  value  on 
the  last  marches  of  our  corps,  where  1  had  to  take  many  notes,  and  do  much 
writing  on  horseback,  while  in  motion.  I  could  write  legibly  in  Tauhy- 
graphic  characters  ;  my  long-hand  I  could  scarcely  read  when  cold.  On  the 
late  moves  I  have  been  constantly  topographing  the  country  as  we  pu 
and  have  found  the  art  worth  more  than  the  labor  it  cost  to  master  it  already." 

[This  was  written  with  only  a  few  weeks'  practice  of  the  art,  and  shows 
how  soon  it  will  repay  a  man  of  activity  for  the  labor  of  acquiring  it.] 


.     : 


.  0.  BAKEK 
LAWYER 


THE 


COMPENDIUM  OF  TACHYGRAPIIY 


OB 


LINDSLEY'S  PHONETIC  SHORTHAND, 


EXPLAOTNG  AND  ILLUSTRATING  THE  COM03T  STYLE 
•OF  THE  ART. 


BY  D.  P.  LTNDSLEY. 


"Now  -what  natural  obstacle  is  there  ngainst  the  formation  of  written  signs,  -which 
•will  be  indefinitely  shorter  than  that  which  constitutes  the  English  Language,  or 
the  Language  of  any  other  people?  *  *  *  Let  the  system  of  written  signs  be 
reduced  to  a  brevity  and  simplicity  corresponding  with  that  of  spoken  sound,  and 
there  is  no  reason  why  the  hand  should  not  be  able  to  keep  up  with  the  voice,  and  a 
man  write  as  fast  as  he  can  speak." — Horace  Mann, 


SECOND    EDITION. 


BOSTON: 

PTIS    CLAPP,    3    BEACON    STKEET. 

NEW  YORK :  SCHERMERHORN,  BANCROFT,  &  CO.,  130  GRAND  ST. 

PHILADELPHIA  -.  SCHERMERHOKN,  BANCROFT,  t  CO.,  512  ARCH  ST. 

1865. 


Entered  according  to  Act  of  Congress,  in  the  year  18(>5,  l>v 
D.  P.  LINDSLET, 

in  the  Office  of  the  Clerk  of  the  District  Court  of  the  United  S. 
District  of  Massachusetts. 


PREFACE. 


THE  new  System  of  Phonetic  Short-hand,  which  we  have  partially 
developed  in  the  following  pages,  is  the  result  of  a  protracted  effort  to 
conform  the  system  of  Mr.  Isaac  Pitman  to  the  beauty  of  its  theory. 
A  few  persons  of  peculiar  genius  have  mastered  that  system,  and  found 
its  use  of  great  service  in  all  their  literary  pursuits.  But  while  a  few 
were  able  to  relieve  themselves  of  the  intolerable  drudgery  of  writing 
by  its  means,  hundreds  —  we  can  say,  in  truth,  thousands  —  were  striving 
in  vain  to  make  the  old  system  practically  useful  to  them.  We  speak 
what  we  know.  Nineteen  twentieths  of  all  the  phonographers  we  have 

J£]  ever  seen  are  of  this  number  ;  and  we  are  almost  constantly  in  receipt 
of  letters  from  all  parts  of  the  country  which  testify  with  emphasis 

2j    to  the  impracticability  of   phonography,   and  express  an  earnest    hope 

i    that  some  system  may  be  found  that  can  be   applied  to  the  common 

uses   of   writing.      Besides,   as  a  teacher    of    phonography  for    several 

^  years,  we  might  give  the  result  of  our  success,  if  more  testimony  were 

«!j- 

needed ;   but  it  is   not  necessary.     "When  we  awoke  to  the  fact  that  we 
z    were  attempting  a  hopeless  task  in  trying  to  shove  a  system  into  favor 
1    burdened  with  the  irregularities  and  complexities  that  characterize  that 
system,  we  were  surprised   to  find  that  most   thinking  men  had  arrived 
J*J    at  the  same  conclusion   long  before  us.      And,  when   stimulated  by  a 
C    view  of  the  necessity  of  some  relief  from   the  toil  of  writing,  we  con- 
ceived it  still  possible  to  work  out  the  phonographic  theory  in  a  prac- 
tical shape,  we  were  more  than  pleased  to  learn  that  such  men  as  the  late 
Hon.  Horace  Mann  had  anticipated  us  here  also,  and  indicated,  with  the 
usual  clearness  of  his  perceptions,  the  plain  and  practical  plan  on  which 
success  was  certain.     And  others  have  from  time  to  time  urged  the  impor- 
tance of  a  more  rapid  system  of  writing,  not  for  the  use  of  the  verbatim 
reporter,  but  for  all  the  ordinary  purposes  of  writing. 


448550 


4  PREFACE. 

• 

But  what  are  the  characteristics  of  a  system  that  icill  supply  the  demand? 
We  answer,  It  must  be  SCIENTIFIC,  SIMPLE,  LEGIBLE,  and  BRIEF. 

1.  No  contrivances  of  contraction,  however  ingenious,  can  ever  unite 
large  masses  of  men  any  farther  than  immutable  principles  underlie  them. 
A  true  system  cannot  properly  be  considered  arbitrary.     There  is  a  reason 
why  certain  alphabetic  signs  are  more  appropriate  to  certain  sounds  than 
others.     Were  it  not  so,  we  might  speculate  on  alphabetic  changes  through 
all  coming  time,  and  still  be  no  nearer  a  satisfactory  result. 

2.  The  whole  drift  of  modern  science  and  art  is  toward  naturalness. 
To  copy  the  simplicity  of  Nature  is  found  the  highest  wisdom.     All  can  fol- 
low the  direction  of  a  few  plain  principles.      Redundancies  and  exceptions 
repel,  and  destroy  uniformity. 

As  we  have  before  said,  the  phonographic  theory  was  simple  and  beauti- 
ful ;  but  it  was  departed  from  so  widely  in  practice  that  its  value  was 
nearly  lost.  We  have  given  expression  to  that  original  design.  We 
have  wrought  out  a  style  as  simple  in  fact  as  in  theory.  When  the  al- 
phabet is  mastered,  the  student  has  a  key  to  the  common  style.  Diph- 
thongal signs  are  used  for  diphthongal  sounds  ;  but  they  do  not  interfere 
with  the  harmony  of  the  theory,  any  more  than  the  use  of  one  sign  for 
the  diphthongal  sound  of  /  long  in  our  common  alphabet  breaks  up  the 
unity  of  design.  Our  pupils  read  this  style  readily  with  three  or  four 
weeks'  study  ;  they  cannot  read  the  common  chirography  readily  with 
three  times  this  amount  of  practice. 

3.  Legibility  is  all   important  for  a   thousand  uses  of  writing.     We 
need   only  say  that   this  system  is  in  this  respect   far  superior  to  any 
previous  system  of  short-hand  ;   we  say  more :    it  is  far  superior  in  this 
respect   to  long-hand.      The    grossest  carelessness,   on    the    part  of  the 
writer,  can  scarcely  render  it   unintelligible ;    and  as   there  are  no  con- 
tractions to  remember,  and   nothing   to  forget,  it  can  be  read  after  the 
lapse  of  years  with  the  certainty  of  common   print. 

4.  Brevity.     This  is  a  cardinal  point ;  for  the  prolixity,  the  cumber- 
someness,  of  our  ordinary  writing  is  what  we  seek  to  avoid.     In  making 
the  letters  of    our   long-hand    alphabet,   we  make   from    three   to  seven 
movements  of   the   pen   for   each,  — on  an  average,  four.      About  one 
letter   in   seven    is   eilent   in    our    common    orthography.       In   Phonetic 
Short-hand    we    make   one  simple  stroke  for  each    simple  sound  ;    this 
eaves  three  fourths     the  labor  :    we    omit  all  silent  letters  ;    this  gives 
us  a  farther  advantage.       Besides,   the  distance  passed  over   by  the   pen 
is  vastly  less  in  short-hand.      We  write  this  simpler  style  three  to  four 


PREFACE.  5 

times  as  fast  as  long-band  ;  but  we  save  more  than  nine  tenths  of  the 
labor  of  writing.  "We  mean  that  a  person  can  write  more  than  three 
times  as  fast,  with  less  than  one  third  the  fatigue.  Though  this  speed 
is  much  less  than  that  of  our  briefer  styles,  yet  it  is  greater  than  can 
be  attained  by  the  simple  style  of  phonography,  and  greater  than  has 
been  attained  by  any  large  number  of  persons  in  the  briefest  styles  of 
most  systems  of  short-hand. 

This  is  not  mere  theory.  For  several  years  we  have  tested  its  capa- 
bilities, and  with  uniform  success.  Pupils  of  all  ages,  from  children  to 
men  of  mature  years,  have  mastered  it,  and  have  given  us  the  most 
ample  assurance  that  we  have  not  overrated  its  simplicity,  brevity,  or 
scientific  accuracy. 

No  impediments  now  hinder  the  acquisition  of  this  much-coveted  art 
of  rapid  writing.  The  editor  can  use  it  ;  for  no  intelligent  compositor 
need  spend  more  than  a  fortnight  in  acquiring  the  ability  to  set  up 
type  from  his  short-hand  manuscript.  The  author  can  use  it.  The 
clergyman  can  use  it ;  for  he  can  read  his  notes  with  greater  readiness 
than  in  the  old  way.  The  lawyer,  the  physician,  the  student,  every- 
body, can  use  it  ;  for  it  is  so  simple  and  practicable  that  everybody  can 
learn  and  remember  it. 

The  importance  of  having  a  style  of  writing  level  with  the  capacities  of 
all  can  hardly  be  over-estimated.  Although  most  can  use  it  in  a  thousand 
ways  independently  of  the  knowledge  of  others,  yet  its  value  to  all  is 
heightened  by  every  increase  of  the  number  who  understand  it.  Hence, 
the  greatest  success  must  be  gained  through  the  most  natural  style. 

As  the  leading  idea  of  this  style  is  PRACTICABILITY,  we  have  carefully 
excluded  from  it  all  contractions  and  ambiguous  forms,  so  far  as  possible. 
If  any  ambiguities  of  outline  exist,  it  is  only  another  illustration  of  the  ab- 
solute impossibility  of  conforming  perfectly  to  any  ideal  standard  of  perfect- 
ness.  It  would  be  easy  to  avoid  Scylla,  if  no  Charybdis  yawned  on  the 
other  hand.  The  greatest  brevity  is  easily  attainable,  if  there  be  no  regard 
to  perspicuity,  and  no  fear  of  complexity  ;  the  most  perfect  simplicity 
might  be  attained,  if  brevity  were  not  desirable.  Between  the  extremes 
of  complexity  on  the  one  hand  and  prolixity  on  the  other,  we  have,  wo 
think,  found  the  proper  medium.  For  all  the  ordinary  purposes  of  life, 
this  style  will  be  found  neither  too  complicated  nor  too  prolix.  For  the 
professional  reporter,  we  have  two  more  complicated  styles,  —  a  Reporting 
Style  and  an  Easy  Reporting  Style  ;  but  they  should  be  studied  only 
by  reporters. 


6  PREFACE. 

This  work  is  only  a  compendium  ;  but  we  have  omitted  nothing  essential 
to  a  clear  knowledge  of  all  the  principles  of  this  style ;  for  their  application, 
however,  in  detail  throughout  the  vast  extent  of  the  English  language,  we 
must  refer  to  our  larger  work,  which  will  be  published  in  due  time. 

January,  1864.  D.  P.  L. 


PREFACE  TO  THE  SECOND  EDITION. 


THE  favor  with  which  the  first  edition  has  been  received,  in  spite  of 
many  imperfections,  is  a  gratifying  assurance  that  we  have  secured,  in  a 
great  measure,  that  practicability  in  short-hand  that  so  many  thousands 
have  been  seeking  for.  Facilities,  not  attainable  when  the  first  edition 
appeared,  enable  us  to  present  the  work  in  a  better,  and,  we  trust,  a  still 
more  acceptable,  form.  Through  the  skill  and  inventive  genius  of  Mr. 
Otis  M.  Brewer,  of  this  city,  we  are  able  to  illustrate  this  edition  in 
such  a  way  as  to  aid  the  student  of  the  art  materially. 

We  have  spared  no  pains  or  expense  to  render  the  work  as  complete  a 
guide  to  the  Common  Style  as  is  possible  within  the  limits  of  so  small  a 
work.  New  chapters  have  been  added,  and  the  difference  between  the  com- 
mon orthography  and  the  phonetic  more  clearly  pointed  out. 

We  have  also  added  a  series  of  Writing  Exercises,  selected  with  the 
double  design  of  illustrating  both  the  principles  of  Tachygraphy  and  those 
features  of  our  orthography  which  need  the  most  attention.  We  are 
indebted  for  some  of  those  illustrations  to  a  work  by  Rev.  J.  C.  Zachos,  — 
"  The  Phonic  Primer,"  —  which  presents  the  irregularities  of  our  common 
orthography  in  such  a  manner  that  they  may  be  mastered  with  the  least 
difficulty.  The  new  phonic  plan  of  teaching  reading  presented  in  this 
primer  is  far  superior  to  any  other  with  which  we  are  acquainted. 

The  reading  lessons  of  the  following  work  present  a  white  letter  on  a 
black  ground.  While  this  may,  at  first,  seem  strange  to  those  who  have 
been  in  the  habit  of  wafldering  "  where  jet  black  flowers  by  thousands 
grow,"  yet  it  would  seem  to  us  to  be  the  true  and  natural  method  of  print- 
ing, since  the  white  letter  forms  a  picture ;  the  black  letter,  a  blank.  The 
dark  page  is  certainly  better  for  the  eye. 

To  the  many  friends  who  have  aided  us  in  the  spread  of  this  noble  art,  we 
send  this  second  edition  with  greeting,  hoping  that  they  will  find  in  it  a 
much  more  perfect  instrument  for  carrying  on  the  reform,  —  that  it  is 
better  adapted  to  the  use  of  their  classes. 

Should  the  student  wish  further  instruction  in  the  details  of  the  art,  he 
will  find  it  in  the  Rapid  Writer  and  Taehygrapher,  which  will  be  published 
as  frequently  as  demanded. 

Boston,  Sept.  6th.,  1865. 
7 


EXPLANATION   OP  TERMS. 


TACHTGRAPHT.  —  Greek  rn^vc  (Tachus),  —  swift,  and  yp«*w,  to  write. 
1.  Rapid  writing.  2.  A  style  of  phonetic  short-hand,  adapted  to  all 
business  and  literary  purposes,  as  well  as  to  verbatim  reporting,  the 
common  style  of  which  is  given  in  this  work. 

Letters  in  the  beginning  of  a  word  are  called  initial  ;  in  the  mid- 
dle, medial  ;  and  in  the  end,  final  or  terminal. 

Short-hand  characters  are  called  signs,  to  distinguish  them  from  the 
common  letters.  A  letter  is  often  silent  ;  a  sign,  never. 

The  terms  word-outline  or  word-form  are  used  to  designate  that 
conformation  which  the  letters  of  a  word  present  when  written  in 
short-hand  characters. 


PENS,     PAPER,     AND     THE     MANNER     OP    HOLDING 

THE  PEN. 

STEEL  pens  of  medium  fineness  are  best  for  writing  Tachygraphy. 
Paper  may  be  ruled  or  plain  ;  but  paper  ruled  with  double  lines  is 
never  needed. 

The  pen  should  be  held  between  the  fore  and  middle  fingers,  the 
penholder  pointing  considerably  to  the  right,  so  that  horizontal  and 
left-oblique  lines  can  be  struck  conveniently.  The  pen  should  be  held 
square  on  the  paper,  so  that  both  limbs  press  equally.  A  pencil  may 
be  used  occasionally ;  but  a  pen  ia  preferable. 

Exercises  for  correction  should  be  written  on  every  third  line,  so 
that,  when  corrected  on  the  second,  they  may  be  rewritten  by  the 
pupil  on  the  third.  The  student  should  copy  his  exercises  into  a 
blank  book  for  preservation  when  sufficiently  advanced. 


THE  PROPER  METHOD   OF  STUDY. 

THE  rapidity  of  progress  in  short-hand  will  depend  very  much  on 
the  method  of  study.  It  is  not  necessary  that  all  should  follow  the 
same  course,  in  all  its  minutest  details ;  but  the  same  general  prin- 
ciples will  apply  equally  well  to  all.  We  offer  the  following  sugges- 
tions to  the  student  on  this  subject :  — 

1.  Master  the  alphabet.  To  do  this,  follow  the  course  pointed 
out  under  the  head  of  Directions  for  Practice,  never  taking  up  more 
than  two  or  three  characters  at  once,  and  mastering  them  thoroughly 

8 


THE  PROPER  METHOD  OF  STUDY.  9 

before  proceeding.     While  learning   the  alphabet,   it  will  be  of  service 
to  read  a  few  lines  of  the  Reading  Exercises. 

2.  When    the   alphabet  is  memorized,   study   Chapter    IV.,   carefully 
turning  to  every  reference.     Study  and  memorize  all   that  is  said  about 
the    connection    of   vocal  signs  and  the  position  of  disconnected  signs, 
and  review  the  Reading  Exercise  carefully,   to  see  whether  you  under- 
stand clearly  why  every  mark  is  written  where,  and  as  it  is.     Let  noth- 
ing escape  your  observation.     You  will  then  proceed  to  test  your  knowl- 
edge farther  by  writing   as  many  of  the  Writing   Exercises  as  are  illus- 
trated  in  this  chapter.     When  this  is  done,   go  on   with   Chapter  V., 
studying  reading  and  writing  alternately.     Copy  the  Reading  Exercises. 

It  would  be  well  for  you  to  have  your  writing  exercises  corrected  by 
a  master  of  the  art.  Though  we  have  left  nothing  undone  that  we  could 
do  in  so  small  a  compass  to  make  the  system  available  without  the  aid 
of  a  teacher,  yet  all  will  make  better  progress  with  such  assistance  ; 
and  we  have  reason  to  think  that,  in  this  art,  as  in  many  others,  — 
as  in  all  others,  —  it  is  idle  to  expect  great  results  without  personal 
instruction.  Yet  the  self-dependent  and  earnest  student  will  find  the 
course  we  have  indicated  productive  of  quick  results. 

3.  Leave  no  difficult  form  until  you   can  make  it  readily.     Write  it 
over  many  times,  until   its  form   is   perfectly  natural.     There  is   a  won- 
derful  power   in   repetition.     Some  of  my  pupils  write   all  the  Alpha- 
betic Signs  in  fifteen  seconds. 

4.  When    you   have    mastered  all    the   principles  of   this  style,  you 
should  write  from  dictation.      Make  a  long-hand  copy  of  the   phrases 
on  the  fifth  page  of  Reading  Exercises,  and  get  a  friend  to  read   them 
to  you.      Write    ten    or    twelve    phrases,   and   then  review  them  until 
mastered.      Proceed  in  this  way  with   a  few  at  a  time  until  you   can 
write  them  all  readily.     Then  have   them  read  through  many  times,  the 
reader   increasing   his   speed   with   your   ability  to   write,  until   you   can 
write  them  at  the  rate  of  one  hundred  words  a  minute,  or  more. 

5.  When   you  can  write   a   few  things   rapidly   and   correctly,  it  will 
aid   you   much   in  writing  other  things.     But  you  should  not  stop  here. 
Have    your    friend  read    slowly,   from  some  easy  book,  —  the    Book  of 
Job,  for  instance,  or  the  Psalms  of  David,  or  the  Sermon  on  the  Mount, 
or  St.  John's    Gospel,  or  some  simple  book  for  children,  —  a  few  verses 
at  a  time,  reviewing  often ;   and  when  the   chapter  is  well  reduced  to 
practice,  write   it   through   from   the  beginning.     In   this  way,   you  will 
soon  attain   the  speed  of   from   eighty  to  a  hundred   words  a  minute, 
according   to   your   speed  of  manipulation. 

6.  Proceed  in  the  same  manner  with  more  difficult  works,  according 
to  your  taste.     Follow  this  course,  and  we  will  be  willing  to  become  re- 
sponsible for  your  success. 


THE 
ALPHABET  OF  TACHYQRAPHY, 


OR- 


CONSONANTAL    SIGNS. 


SIGN- 
1 

NAMB.                     SOUND. 

Be,    b  in  bay. 

SIGN.           NAME.                             SOUND. 

~>        The,     th   in   they. 

1 

Pe,     p  in  pay. 

~^        Ith,       th    in    oath. 

\ 

Ga,    g  in  go. 

f^        Em,     m   in   may. 

\ 

Ka,    k  in  key. 

En,       n    in   nay. 



De,    d  in  do. 

^       Ing,      ng  in    sing. 



Te,     t   in  to. 

^        El,       1     in   lay. 

) 

~Ve,     v  in  eve. 

^         Ra,      r     in   ray. 

) 

Ef,     f  in  if. 

i/-         "VVa,     w    in    we. 

( 

Zhe,  z  in  azure. 

^        Ya,      y    in   ye. 

( 

Ish,    sh  in  show. 

^        Ha,      h    in   high. 

,-v 

Ze,     z  in  ooze. 

c^_        Ja,       j      in  jail. 

^ 

Es,     s  in  so. 

Cha,    ch  in   each. 

VOCAL 

SIGNS. 

« 

E,      e     in  eve. 

I,       i      in  it;  y  in  duty. 

c 

A,      a     in   aim. 

c          A,     a     in  above,  arise. 

• 

Ai,    ai    in   air. 

e,      e    in  ebb. 

V 

Ah,   a     in   are. 

a,      a    in  ask,  at. 

- 

Oo,    o      in   do. 

56,    oo  in  foot;  u  in  full. 

1 

O,     o      in   ode. 

Q,      u    in  us,  fur  hut. 

/ 

Au,  au    in   aught. 

/         8,      6     in  on,  or. 

». 

Oi,    oy    in   boy. 

^          I,      i     in  ice. 

^ 

Ow,  ow  in   now. 

v          Ay,  ay  in  aye. 

A         Ew,  ew  in  dew. 

Entered  according  to  Act  of  Congress,  in  the  year  1864,  by  D    P   Lindsay,  in  the  CUrk'i  Office 
Of  the  Dutrtct  Court  of  the  District  of  Connecticut. 


THE  ALPHABET. 


THE  availability  of  alphabetic  signs  depends  upon  their  simplicity  and 
facility,  their  direction,  their  brevity,  the  appropriateness  of  the  classifica- 
tion, and  above  all,  on  their  distinctiveness. 

We  represent  the  consonantal  sounds  by  straight  lines,  and  curves  of 
the  quarter  of  a  circle,  and  the  vocal  sounds  by  small  semi-circles,  dashes, 
dots,  and  diamond  points. 

Our  alphabet  is  in  some  respects  similar  to  the  phonographic  alphabet, 
but  there  are  several  important  points  of  difference ;  and  these  differences 
are  fundamental,  growing  out  of  important  principles.  In  Phonography 
vocal  sounds  were  expressed  by  dots  and  dashes,  which  took  their  value 
from  their  position.  A  dot  in  the  first  position  was  E,  in  the  2d,  A,  in  the 
3d,  Ah,  &c.  So  the  same  dots  and  dashes  represented  sounds  entirely  dif- 
ferent. These  dots  and  dashes  were  disjoined,  leading  to  difficulties  which 
we  shall  allude  to  presently. 

We  represent  the  vocal  sounds  as  definitely  as  the  consonantal,  by 
giving  each  sound  a  sign  distinguished  by  form  instead  of  position,  and 
joining  these  signs  in  their  proper  order;  instead  of  picking  out  all  the 
consonants,  and  putting  the  vowels  in,  one  by  one,  after  the  rest  of  the 
word  was  written,  as  phonographers  are  obliged  to  do. 

The  forms  of  these  signs  are  such  as  to  ensure  the  best  joinings  with 
the  consonants.  The  advantages  growing  out  of  this  principle  are  numer- 
ous. Greater  definiteness  and  accuracy  are  secured,  and  (what  is  still 
more  important)  greater  facility  of  writing  on  account  of  the  increased 
continuity.  The  importance  of  having  signs  that  can  he  joined  in  the  out- 
line can  scarcely  he  overestimated.  We  complain  more  of  dotting  the  i 
in  our  common  writing  than  of  making  our  most  interminable  m.  The 
momentum  acquired  in  writing  rapidly  seems  to  carry  the  hand  through 
a  thousand  graceful  curves  with  a  sort  of  pleasure,  while  a  pause  or  diffi- 
cult joining  occasions  hesitation  and  loss  of  speed.  It  is  only  by  taking 
advantage  of  this  principle  of  continuity  that  the  writing  of  short-hand 
can  be  made  effective.  If  any  one  wishes  to  test  this  principle  let  him 
take  any  word — common,  for  instance — and  write  it  as  many  times  as  he 
can  in  a  minute  in  the  ordinary  way ;  then  let  him  write  it,  disjoining  ev- 
ery letter,  and  he  will  find  that  he  loses  half  his  speed,  or  more.  Let  him 
now  write  the  word  another  minute,  separating  each  letter  into  strokes, 
making  three  for  c,  two  for  o,  seven  for  m,  and  so  on,  and  see  how  slow 
and  toilsome  the  writing  is,  arid  he  will,  we  are  sure,  become  thoroughly 
convinced  of  the  absolute  necessity  of  a  good  degree  of  continuity  in  any 
system  of  writing  where  speed  is  required. 


The  difficulty  attending  the  use  of  disconnected  vowels  rendered  the 
corresponding  style  of  Phonography  worthless.  AY  lien  fully  vocalized  it 
could  be  written  with  all  its  contractions  and  complexity  but  little  faster 
than  long-hand.  The  reporting  style  was  more  successful,  on  account  of 
the  use  of  phrase  signs.  But  the  flow  of  the  writing  was  seriously  im- 
paired, even  in  the  reporting  style,  by  the  necessity  of  distinguishing 
words  by  position ;  for  it  was  difficult,  and  often  impossible,  for  the  word 
to  maintain  its  proper  position  on,  above,  or  below  the  line  of  writing, 
while  it  maintained  its  proper  position  in  the  phrase. 

Our  alphabet  obviates  both  of  these  difficulties.  The  vowels  form  a 
part  of  the  word-form,  and  are  written  without  lifting  the  pen  from  th«> 
paper;  and  in  the  reporting  style  distinction  of  outlines  is  made,  wher 
necessary,  by  a  connective  vowel,  thus  avoiding  all  necessity  of  depending 
upon  position,  and  giving  a  freedom  with  the  use  of  phrase  signs,  impossi 
ble  by  any  other  alphabet.  So  it  will  be  seen  that,  while  but  few  vowels 
are  required  in  the  reporting  style,  the  use  of  connective  signs  for  such  a.S 
are  employed  is  as  important  as  the  use  of  such  signs  in  the  common  style. 

The  choice  of  signs  for  the  consonantal  sounds  demands  more  explana- 
tion than  we  can  give  here. 

The  use  of  the  numerous  contractions  which  are  employed  in  the  sim- 
plest style  of  Phonography  is  incompatible  with  simplicity.  So  long  as  it 
is  possible  to  write  a  word  from  three  to  nine,  ten,  or  more  ways — so  long 
as  a  variety  of  forms  are  used  to  represent  the  same  sounds — there  must 
be  great  difficulty  in  mastering  and  remembering  the  proper  forms  for 
words.  There  was,  in  fact,  so  little  law  in  the  formation  of  phonographic 
outlines  that  the  pupil  must  learn  each  word  by  itself — a  prodigious  labor ! 
and  besides,  the  same  outline  stood  for  several  words ;  and  though  they 
might  be  distinguished  by  dots  and  dashes,  yet  these  were  not  sufficiently 
conspicuous  to  make  the  reading  plain. 

These  difficulties  could  be  obviated  in  a  plain  and  natural  way,  by  writ- 
ing each  sound  out  clearly  and  fairly  by  itself,  in  its  own  proper  order,  un- 
contractedly.  In  this  way,  if  there  was  any  difference  of  sound,  there 
must  be  a  corresponding  difference  in  the  word-form.  But  to  do  this  by 
the  phonographic  alphabet  was  impossible.  The  most  unshapely,  unman- 
ageable outlines  conceivable  was  the  result  of  the  effort.  The  most  fre- 
quently occurring  characters  ran  down  perpendicularly,  and  some  words 
would  descend  through  the  line  below,  and  even  through  two  or  three 
lines,  so  that  their  use  was  impossible.  But  was  there  no  plan — no  ar- 
rangement of  the  signs — that  would  enable  us  to  avoid  this?  It  was  long 
a  question,  but  after  months  of  labor  the  very  simple  fact  was  discovered 
that  certain  sounds  were  of  so  frequent  occurrence  that,  by  giving  them 
horizontal  forms,  all  others  could  be  so  arranged  as  to  run  along  the  line 
of  writing,  forming  facile  outlines.  This  led-to  the  present  arrangement 
of  the  consonantal  signs. 


E  SEMBLANCES 


II      \  \    ---  > 

I  '  <X  Ys  31)  X  Y' 


^VARIATION  OF  THE^VOCAL  C 


URVES. 


ALPHABETIC  PRACTICE 


CHAPTER    I. 

THE    USE    OF    THE    SIMPLE    SIGNS. 

OUR  common  writing  has  two  defects :  first,  the  complexity  of  its 
letters ;  second,  the  irregularity  of  their  use. 

1.  The   letters   have   each   from    three   to   five,   six,   or   seven    inflec- 
tions ;     that    is,   the    pen    must    trace    such   a    number    of    curves  and 
strokes   in    making   each   letter.     Vvre   overcome   this   difficulty   by   using 
alphabetic   signs  that   can   be  made  with  one  stroke  of  the   pen.     Many 
of   these   signs   have   still   a   resemblance   to   the   letters   of   the   old  al- 
phabet.     Compare   the   old   with   the   new   letters.     See  Illustration   A. 

2.  The  second  difficulty,  the   irregular   and  redundant  use   of  the  old 
letters,    we    overcome    by   the    phonetic    method ;    that    is,   we    employ 
enough  characters  to   represent  each  elementary  sound   in  the   language, 
and   then   use   this   sign   in   all   cases  for   its   proper   sound.     It  will   be 
seen   that   by   this   method   we   omit   all   silent    letters,   and,   where   di- 
graphs  have   the   sound   of  a   single   letter,  one   sign   only  is  employed. 
The  word  they,  for  instance,  contains  four  letters,  but  only  two  sounds ; 
hence,  only  two  signs  would  be  required  to  write  it.     The  word  thought 
contains   three   sounds,  requiring   three   signs,  etc.     The   student   should 
commence  by  analyzing   each  word ;    that   is,  separating   it   into   the  in- 
dividual sounds  that  compose  it,  giving  each  sound  its  appropriate  sign. 

The  irregularities  of  our  orthography  result  from  the  use  of  silent 
letters,  as  y  in  may,  bay,  ray,  say,  etc.  ;  c  in  foe,  hoe,  etc. ;  gh  in 
tauyht,  sought,  etc.  ;  from  the  change  of  sound  that  letters  undergo, 
as  a  in  fate,  fat,  far,  fall,  etc.  ;  e  in  mete,  met,  they,  etc.  ;  o  in 
note,  not,  son,  moon,  etc. ;  from  the  use  of  different  letters  and  com- 
binations of  letters  to  represent  the  same  sound ;  as  a  (long)  by  a  in 
fate,  by  e  in  fete,  by  ai  in  rain,  by  ei  in  rein,  by  ay  in  may,  by 
ey  in  they,  by  au  in  gauge,  etc.  ;  and  from  such  a  mingling  of  all 
these  causes  as  to  render  any  clear  and  methodical  classification  of 
these  irregularities  impossible. 

Now  all  we  need  to  say  to  the  student  of  Tachygraphy  is  this:  pay 
no  attention  to  the  letters  in  a  word,  but  pronounce  it  accurately  and 
use  the  signs  that  represent  those  sounds.  Unlike  the  old  letters,  the 
•  new  signs  represent  always  the  same  sounds.  The  long  sound  of  A 
long  is  always  represented  by  c ,  the  short  sound  by  w  ;  the  long  sound 
of  E  by  ",  the  short  sound  by  .  ;  the  long  sound  of  I  by  v,  the 
short  sound  by  r-  ;  the  long  sound  of  O  by  i ,  the  short  by  ,  ;  the 
long  sound  of  U  by  A,  the  short  sound  by  >,  etc.  ;  sh  is  always 
written  (,  ph  ),  th  ~\  ,  etc.  The  matter  will  be  made  clearer  by  study- 
ing the  following  examples.  See  Illustration  B. 


CHAPTER   II. 

OUR    COMMON    ORTHOGRAPHY. 

LETTERS  were  originally  designed  to  represent  sounds,  and  the  nat- 
ural theory  was  to  have  a  letter  for  each  elementary  sound  used  in 
the  language.  The  letters  of  the  Greek  alphabet  represent  the  sounds 
of  that  language  very  accurately,  and  the  Roman  letters  were  origi- 
nally more  accurate  representatives  of  sound  than  they  are  at  present. 
The  English  language  contains  sounds  that  the  Latin  language  did 
not ;  hence,  when  we  attempt  to  use  the  same  old  alphabet  that 
served  a  tolerable  purpose  two  thousand  years  ago,  in  writing  an  en- 
tirely different  language,  we  find  it  fit  as  awkwardly  as  the  clothes 
of  a  boy  of  five  years  would  fit  the  man  of  twenty-five. 

The  writer  of  a  phonetic^  system  has,  however,  a  sure  and  easy  ba- 
sis to  build  up  his  system  of  orthography  upon.  He  has  only  to 
consider  carefully  the  true  pronunciation  of  the  word  to  be  written, 
and  then,  having  learned  each  alphabetic  sign  as  the  representative 
of  a  sound,  give  each  sound  its  true  sign.  THE  PERFECTION  OF  THE 

THEORY  REQUIRES  THAT  EVERY  SIGN  SHALL  REPRESENT  THE  SAME  SOUND 
AT  ALL  TIMES,  AND  THAT  NO  SOUND  BE  WITHOUT  A  LETTER  TO  REPRE- 
SENT IT. 

'We  will  apply  this  principle  to  our  present  alphabet,  and  see  in 
what  respects  it  is  deficient  or  redundant. 

SECT.  1.     We  treat,  first,  of  the  Irregularities  of  the  Consonants. 

The  following  are  regular,  —  that  is,  they  commonly  represent  but 
one  sound :  B,  I),  J,  K,  L,  M,  N,  Q,  R,  and  V.  Some  of  them 
are,  however,  sometimes  silent ;  they  are  B,  K,  L,  M,  and  N. 

Each  of  the  remaining  letters  represent  more  than  one  sound  ;  we 
treat  of  them  in  detail. 

C  has  three  sounds,  —  a  hard  sound  in  come,  a  soft  sound  in  city, 
and  the  sound  of  sh  in  spacious.  It  is  generally  soft  before  e,  t,  and 
y,  and  hard  before  a,  o,  and  u.  It  has  the  sound  of  sh  in  the  ter- 
minations cious,  ccous,  cza/,  etc. 

F  has  the  sound  of  v   in  the   word  of. 

G  has  two  sounds,  —  a*  soft  before  e,  i,  and  y,  and  a  hard  before 
a,  o,  and  M.  There  are,  however,  many  exceptions.  G  is  silent  in 
gnaw,  sign,  etc. 

H  is  sometimes  silent,  and  is  sometimes  used  in  connection  with  t 
and  5  to  represent  sounds  for  which  we  have  no  letters  in  the  common 
alphabet,  and  with  p  to  express  the  sound  of  F. 

12 


OUR   COMMON    ORTHOGRAPHY.  13 

Q  has  the  sound  of  K. 

S  has  four  sounds,  —  a  sharp  sound  in  the  word  some,  the  cognate  flat  or 
eubvocal  sound  in  as,  the  sound  of  sh  in  mission,  and  its  cognate  in  measure. 

T  in  the  termination  tion  has  the  sound  of  sh.  It  is  used  with  h  to  rep- 
resent the  two  elementary  sounds  heard  in  the  beginning  of  the  words  then 
and  thin. 

W  has  but  one  consonant  sound.  With  a  preceding  vowel  it  generally 
forms  a  diphthong. 

Yhas  but  one  consonant  sound.  At  the  end  of  words  and  syllables  it  is 
either  silent  or  sounds  like  i  short. 

Z  in  the  word  azure,  and  some  others,  has  a  sound  quite  different  from 
its  proper  sound,  corresponding  with  the  sound  of  s  in  pleasure.  It  is  a 
simple  elementary  sound. 

X  generally  represents  two  sounds,  —  the  sound  of  k  and  5,  as  in  extreme, 
or  the  sound  of  ga  and  ze,  as  in  exact.  X  has  also  sometimes  the  sound  of  Z. 

SECTION  2.     Sounds  represented  by  two  letters. 

There  are,  in  the  English  language,  twenty-four  consonantal  sounds  and 
only  twenty-one  letters  that  are  ever  used  to  express  them.  Of  these  C,  Q, 
and  X  are  useless,  because  they  represent  sounds  already  better  represented 
by  other  letters.  This  leaves  eighteen  useful  letters  to  express  twenty-four 
sounds.  The  six  simple  elementary  sounds,  which  have  no  proper  represen- 
tatives, are  Zhe,  Ish,  The,  Ith,  Ing,  and  Cha.  (See  Pho.  Short-hand  Al- 
phabet.) 

The  first,  as  we  have  seen,  is  Written  in  our  common  orthography  by  z  or 
5 ;  the  other  five  have  two  letters  to  represent  each  of  them.  They  are  sh, 
th,  ng,  and  ch. 

Sh  has  no  sound  but  Ish. 

Th  has  two  sounds,  —  a  sharp  or  aspirate  sound  in  thick,  and  its  cognate 
eubvocal  in  thus. 

Ng  has  three  sounds,  only  one  of  which  is  simple  and  elementary ; 
namely,  the  sound  of  Ing  in  sing.  In  singe  it  has  the  sounds  of  En  and  Ja, 
and  in  longer,  the  sounds  of  Ing  and  Ga. 

Besides  these  sounds,  the  n  and  g  are  in  some  words  sounded  separately, 
as  in  engulf,  where  they  have  the  sound  of  En  and  Ga. 

Ch  has  two  sounds,  —  the  sound  of  Cha  in  each,  and  the  sound  of  Ka  in 
ache. 

There  are  other  combinations  of  consonants  that  represent  sounds  already 
provided  with  letters.  They  are  Ph,  sounded  like  Fand  V,  or  silent ;  Gh, 
sounded  like  Ga,  F,  and  K,  and  in  many  cases  silent ;  Rh,  sounded  like  R; 
Wr,  sounded  like  R ;  and  Wh,  sounded  like  Hw. 

Wh  really  represents  two  sounds,  the  other  letters  only  one,  or  none,  as 
the  case  may  be. 

SECTION*  3.     Irregularities  of  Vowels. 

All  the  vowels  in  the  common  orthography  are  irregular.  They  each  rep- 
resent more  than  one  sound. 


14  LINDSLEY'S  PHONETIC  SHORT-HAND. 

A  has  six  sounds,  —  along  sound,  as  in  hale;  a  short  sound  in  hat;  an 
open  sound  in  far ;  a  broad,  open  sound  mfall;  a  medial  sound  in  air  ;  and 
stands  for  e  in  many. 

E  has  three  sounds,  —  a  long  sound,  as  in  eve ;  a  short  in  ebb ;  and  an  ob- 
scure sound  before  r,  as  in  person.  It  is  generally  silent  in  the  end  of  words. 

/  has  three  sounds, —  a  long,  diphthongal  sound  in  fine ;  p.  short  in  Jin  ; 
and  a  sound  more  or  less  obscure  before  r,  as  in  bird. 

0  has  five  sounds,  —  a  long  souhd,  as  in  tone;  a  short  sound,  as  in  non ; 
an  open,  as  in  or;  a  close,  as  in  who  ;  and  the  sound  of  u  in  son. 

27 has  five  sounds,  —  a  long,  diphthongal  sound  in  tune;  a  short  in  sun; 
a  close  in  full;  and  the  sound  of  e  in  bury,  and  I  in  busy. 

Grouping  these  sounds  together,  we  have  E,  A,  Ai,  Ah,  I,  e,  a,  Oo,  0, 
Au,  oo,  u,  5, 1,  and  Ew ;  to  which  we  might  add  two  more  diphthongal 
sounds, — Oi  and  Ow. 

To  make  the  confusion  of  our  common  orthography  still  more  complete, 
each  of  these  sounds  are  expressed  in  several  ways,  as  will  be  seen  in  the  fol- 
lowing examples.  The  letters  that  represent  the  sound  are  italicized. 

E  long  is  represented  by  c,  ea,  ee,  ei,  eo,  ey,  i,  ie,  and  ay,  as  in  the  words, 
eve,  ear,  beet,  conceit,  people,  Key,  pique,  pier,  and  quay. 

A  long  is  represented  by  a,  ai,  ao,  au,  ay,  e,  ca,  ci,  ey,  ue,  aigh,  cigh,  as  in 
the  words  ale,  aid,  gaol,  gauge,  gay,  fete,  great,  veil,  they,  bouquet,  straight, 
eight. 

Ah  is  represented  by  a,  Ah,  and  ua,  as  in  are,  Noah,  and  guard. 

Ai  is  represented  by  a,  ai,  e,  and  ei,  as  in  the  words  care,  air,  there,  and 
their. 

1  short  (I)  is  represented  by  i,  y,  ee,  u,  and  ui,  in  the  words  in,  system, 
been,  busy,  and  circuit. 

E  short  (e)  by  e,  ea,  a,  ai,  ay,  and  ue,  as  in  met,  head,  any,  said,  says,  and 
guess. 

So,  also,  the  following,  as  illustrated  by  the  annexed  examples  :  — 

A  short,  —  at,  guaranty. 

Oo,  —  who,  soot,  soup,  throu^A. 

O,  —  note,  oat,  thouyA,  bowl. 

Au,  —  all,  cause,  lau?s,  ought,  slaughter,  dialogue. 

Oo  short,  —  foot,  full,  legion,  dungeon. 

U  short,  —  up,  enough,  love. 

O  short,  —  on,  hough. 

It  will  be  seen  that,  in  the  case  of  vowels,  as  well  as  consonants,  we  ex- 
press simple  elementary  sounds  by  two  letters  ;  in  a  few  instances  by  three. 

The  necessity  for  this  arises  from  the  impossibility  of  expressing  fourteen 
sounds  properly  by  five  letters.  The  digraphs  employed  to  represent  SIMPLE 
sounds  are  aa,  ae,  ai,  ao,  au,  aw,  ay,  ea,  ee,  ei,  eo,  ey,  ie,  oa,  oe,  oo,  ou,  ow, 
ua,  ue,  ui,  uo,  uy.  The  trigraphs  are  eau,  eou,  iou,  besides  aigh,  eigh, 
ough,  etc. 

As  in  the  words  Aaron,  fail,  gaol,  Gaul,  law,  and  lay ;  head,  heed,  for- 


OUR    COMMON    ORTHOGRAPHY.  15 

feit,  bludgeon,  they,  sieve,  oat,  hoe,  door,  soup,  bow,  guard,  guess,  circuit, 
Guy,  Halcyon,  beau,  gorgeous,  religious,  straight,  eight,  though,  etc. 

Most  of  these  digraphs  have,  also,  several  sounds.  Ai,  for  instance,  has 
different  sounds  in  the  words  air,  fail,  said;  so,  also,  ea  in  mead  and  meadow; 
ou  in  about,  trouble,  sought,  soup,  bouyh ;  and  ouyh  in  though,  thought, 
trough,  cough,  hough,  hiccough,  bough,  etc. 

To  represent  the  fourteen  simple  vocal  sounds,  we  have  five  simple  vowels, 
twenty-three  digraphs,  three  trigraphs,  and  three  combinations  of  four  let- 
ters each,  —  thirty-four  in  all.  It  will  be  noticed  farther  that  no  one  of 
these  thirty-four  vocal-sound  letters,  or  combination  of  letters,  has  any  defi- 
nite sound  that  can  be  relied  upon,  but  represents  variously  from  two  to 
eight  or  nine  sounds  each. 

Diphthongs  and  Triphthongs.  The  long  sounds  of  the  vowels  I  and  U 
are  diphthongal.  Other  diphthongal  sounds  are  represented  by  two  vowels, 
both  of  which  are  sounded.  They  are  oi,  ou,  and  ow,  as  in  oil,  out,  how. 
Some  trigraphs  represent  diphthongal  sounds,  as  iew  in  view,  ieu  in  lieu. 

In  summing  up  this  hasty  view  of  the  English  alphabet,  and  the  orthog- 
raphy resulting  from  it,  we  may  say  of  the  alphabet  that  it  is, — 

];-t.     Redundant;  containing  three  superfluous  letters,  —  c,  y,  and  x. 

2d.  Deficient ;  wanting  letters  for  the  sounds  of  Ish,  Zhe,  Ith,  The,  Ing, 
and  Cha;  and  at  least  nine  out  of  fourteen  vocal  sounds. 

3d.  Ambiguous;  on  account  of  supplying  the  want  of  proper  letters  by 
three  times  the  needed  number  of  combinations  for  the  vocal  signs,  and  an 
indefinite  number  of  consonantal  combinations. 

4th.  Inconsistent  ;  in  representing  the  diphthongal  sounds  I  and  U 
(long)  by  single  letters,  and  using,  in  numerous  instances,  two,  three,  or 
four  letters,  to  express*  one  simple  elementary  sound ;  and  in  making  the 
same  letters  represent  both  vocal  and  consonantal  sounds,  as  W  and  Y  do. 

Of  the  resulting  orthography,  we  may  say  that  the  spelling  is  no  guide  to 
the  pronunciation ;  that  if  its  design  had  been  to  disguise  sounds  instead  of 
expressing  them,  it  could  not  have  been  more  happily  adapted  for  the  pur- 
pose ;  that  the  redundancies  and  deficiencies  of  the  alphabet  are  needlessly 
increased  by  the  use  of  silent  letters  without  method,  order,  or  law  ;  that 
caprice  determines  the  letters  which  shall  be  employed  in  any  given  case, 
without  any  regard  to  necessity,  convenience,  beauty,  or  reason  ;  that  it  is 
not  an  or^/iography  at  all,  but  a  cacography  or  pseudography  ;  that  it  is  a 
nuisance,  a  stupendous  folly,  a  hoary,  chaotic  ruin,  —  a  curse  to  the  English 
language,  and  a  disgrace  to  the  people  that  use  it. 


CHAPTER    III. 

PHONETIC   ORTHOGRAPHY. 

PURE  phonography  provides  one  sign,  and  one  only,  for  each  sound 
in  the  language,  and  represents  each  sound  invariably  by  its  appropriate 
sign.  When  a  person  has  thoroughly  learned  the  diameters  employed, 
he  should  be  able  to  write  any  word  which  he  can  pronounce.  If 
the  word  is,  for  instance,  know,  he  hears  two  sounds,  and  writes  -^  t 
(joined  in  writing).  If  the  word  is  roay,  he  writes  (c  etc. 

Such  being  the  simplicity  of  phonetic,  of  purely  phonographic  or- 
thography, it  is  only  necessary  to  guard  the  student  against  errors 
that  experience  has  shown  to  be  the  natural  result  of  the  use  of  our 
common  orthography,  whose  inconsistencies  are  detailed  in  the  preced- 
ing chapter. 

SECTION  1.     Double  Letters. 

Pronounce  each  word  slowly,  and  mark  the  sounds  accurately.  Omit 
all  silent  letters.  Very  few  double  letters  occur  in  spoken  English. 
Such  words  as  attain,  attack,  etc.,  contain  but  one  t;  adding,  bid- 
ding, etc.,  but  one  d;  begging,  dragging,  etc.,  but  one  y ;  appeal, 
append,  etc.,  but  one  p,  and  t-o  on,  through '  all  words  of  this  elat-H. 

A  few  words,  such  as  wholly,  fully,  and  some  others,  have  both 
letters  sounded,  and,  of  course,  in  these  cases,  both  letters  must  be 
written  in  Tachygraphy. 

SECTION  2.     Suppressed  Letters. 

Avoid  the  omission  or  suppression  of  any  letter  that  is  really 
sounded.  Some  erroneously  write  f-ah-m  for  farm,  cod  (caud),  for 
cord,  etc.  Those  who  have  been  in  the  habit  of  writing  the  old 
phonography  have  formed  many  injurious  habits  of  omission.  They 
are  too  numerous  to  specify ;  but  let  it  be  observed  that  we  follow 
entirely  different  principles. 

On  the  other  hand,  avoid  writing  a  sound  that  is  suppressed  when 
the  word  is  properly  pronounced.  The  vowels  in  most  linul  unaccented 
syllables  are  silent,  or  so  slightly  pronounced  as  to  lead  to  very  awk- 
ward reading  if  distinguished.  This  is  the  case  in  the  final  syllablen 
of  the  following  words:  given,  mason,  lessen,  lesson,  giver,  ruler,  cel- 
lar, musical,  notion,  mission,  rannoin,  seldom,  etc.  Nearly  all  final 
unaccented  syllables  either  lose  the  vocal  pound  entirely,  or  retain  a 
very  obscure  sound,  which  it  would  be  difficult  to  characterize  prop- 

16 


Representing  Letters  ba/mg-  several   sounds 


as  in  fate , 

'"  "  fat, 

»•  »  fatt,- 

•"  "  far, 

'•>  •"  want, 

•"  "  ask, 

"  "  air. 

v  mete, 

•  "  "  met, 

'*"  "  midit, 

••'  "  mitJ 

J;  "  picfue, 

"  •"  a]ien. 


VOCAL. 


O,as  in  note, 

•"    "    '}  not , 

"    J>    •"  son, 

oo/ '    -^  mood, 

J>   "    "  foot, 

U, .,,  .,,  mule 

•"   '',   »  fuD, 


City, 

pceaa. 

go, 


*>  '          note, 

^         notion., 

X.  ••  "    foy, 

'J     "  ••    exact, 

"   "  *>  Xerxes. 


^      F,    35  in  fee, 

-^^  '5       ->J  ) '  of 

J'  J>  «  cff, 

X        %,*  «  S7«g, 

•=—  *'  *  singe, 

^  ,  TL"  "  W^efr 

T      1K>  *  »W, 

^^  '  t>im' 

W^  »  why, 

~—       Pu  J1  aueen., 

B.  ^,  ap})erej 

^       ^..'-'j.'V  Stephen, 

^^      2  "  -»  >onff. 


excel/ent, 


this, pith, 


PHONETIC    ORTHOGKAPHY.  17 

erly.      In    the    common    style    of   Tachygraphy    all    such    vowels    are 
omitted. 

There  is  a  class  of  common  short  words,  among  which  there,  that, 
and  the  are  most  noticeable,  that  seem  to  lose  their  vocal  sound  when 
spoken  very  hurriedly,  and  to  preserve  it  fully  and  clearly  when  em- 
phatic. The  omission  of  such  vowels  is  phonetically  proper,  when  they 
are  obscure,  and  the  polished  writer  will  mark  the  emphatic  word 
by  inserting  the  vowel  when  it  is  fully  sounded.  A  proper  observ- 
ance of  this  principle  gives  a  life  and  force  to  tachygraphic  writing 
hitherto  unattained.  The  following  words  may  be  vocalized  to  render 
them  emphatic  :  there,  that,  the,  then,  shall,  have,  can,  cannot,  from, 
for,  of,  to,  do,  was,  he,  we,  etc.,  etc.  When  not  emphatic,  the 
vowels  of  all  these  words  may  be  omitted. 

SECTION  3.     Cha,  ja,   ing,   etc. 

The  letters  C  and  G  have  two  sounds.  The  tachygrapher  must 
be  careful  to  use  the  \  in  such  words  as  come,  care,  course,  etc.,  and 
the  *-»  in  city,  civil,  certain,  etc.,  and  the  (  in  spacious,  gracious,  etc. 
He  will  use  \  in  go,  give,  gird,  etc.,  but  «_  in  gem,  germ,  etc.  No- 
tice that  ch  in  chaos,  ache,  etc.,  is  written  withka,  not  cha,  and  that 
judge,  ledge,  bridge,  etc.,  are  pronounced  juj,  lej,  brij. 

But  in  the  use  of  >-'  we  anticipate  more  difficulty  than  with  any 
other  letter.  Ng  has  three  sounds,  ^-\,  ---<-,  and  ^,  as  in  the  words 
longer  (lon-ger),  change  (chanj),  and  sing.  Ng  is  represented  by  ^-> 
in  the  following  words :  singing,  ringing,  bringing,  etc. ;  by  ^—«_  in 
change,  range,  strange,  etc.  ;  by  ^\  in  linger,  finger,  stronger,  etc. 

SECTION  4.     Wh,   qu,   etc. 

Wh  (sounded  hw)  has  a  sign  appropriated  to  it  by  which  it  is 
uniformly  represented.  Ha-Wa  would  not  be  an  exact  equivalent,  if 
their  use  was  convenient.  QM  is  represented  by  Ka-Wa  ;  but  it  should 
be  noticed  that  the  u  does  not  have  the  exact  sound  of  wa.  It  has  the 
sound  heard  in  dwell,  twit,  thwack,  etc.,  in  which  the  w  is  represented 
in  the  same  way ;  namely,  by  wa. 

REMARK. 

We  have  noticed  in  this  chapter  only  such  features  of  the  short-hand 
orthography  as  are  phonetic  or  purely  phonographic.  We  reserve  for 
a  future  chapter,  where  it  will  be  better  understood,  such  deviations 
from  phonetic  accuracy  as  are  deemed  essential  to  facility  in  tachyg- 
raphy. 

We  need  add  but  one  general  direction  to  the  student.  Having 
become  perfectly  familiar  with  the  alphabetic  signs  as  representatives 
of  elementary  sounds,  pronounce  the  word  to  be  written  slowly  and 
clearly,  and  give  each  sound  its  appropriate  sign,  and  you  will  spell 
correctly. 


CHAPTER    IV. 

THE  general  principles  detailed  in  the  preceding  chapters  should  be 
studied  and  understood.  The  (student  should  uow  learn  the  alphabet, 
following  the  directions  given  below. 

SECTION  1.     Direction  of  the    Signs. 

1.  Perpendicular    signs  and    those    inclined    to    the    left  are  struck 
downward ;    horizontals,   from    left    to  right ;    Ha,    Wa,   and     Ya,   up- 
ward ;    Em,   JEl,   and   Ar,   either   upward   or  downward. 

2.  We   need   not   hero  specify   the  cases  in   which   Em,  El,  and  Ar 
are   more   properly   struck   downward ;    but   the*  upward  form   is   gener- 
ally  preferable   when   they   are   initial ;    and  convenience  will  determine 
their  use   in   most    cases. 

3.  «  and  "  are  always  struck   in   the   direction   that  the   hands  of 
a  clock    move;     c  ,   w,   and  <,,   in    the  opposite  direction.      This   direc- 
tion is  a  safer  guide  to  the  true  letter  than  merely  the  form  ;  and  it  gives  a 
great  freedom  to  the  use  of  these  signs,  which  may  be  struck  around  further 
than  in  the  alphabet  without  danger  of  mistaking  the  sign.     The   c,  how- 
ever, must  maintain  its  original  position. 

The  heavy  i  is  struck  downward,  the  light  ,  upward  ;  -  i  -  and  \  are 
•written  in  the  same  direction  as  —  |  —  and  \ .  They  should  be  one-fifth 
as  long. 

4.  When  the  vowei  comes  on  the  first  end  of  a  consonant  sign,  it  must 
form  an  angle  with  it.     If  necessary,  an  angle  must  be  made  by  the  use  of 
a  connecting  stroke.       See  Illustration  F.     This  is  seldom  necessary. 

5.  On  the  end  of  a  sign  the  vowel  may  form  a  hook  ;  yet  here  a  con- 
necting stroke  is  sometimes  necessary. 

REMARK.  —  In  mastering  the  alphabet,  the  following  has  been  found  to 
be  a  good  method  of  study  :  — 

DIRECTIONS  FOR  PRACTICE.       . 

EXERCISE   1. 

Beginning  with  Be,  Pe,  fill  a  line  of  your  copy-book  with  these  letters ; 
thus,  Be,  Pe ;  Be,  Pe  ;  Be,  Pe,  etc.  (made,  of  course,  in  short-hand  char- 
acters). Go  on  with  Ga,  Ka,  in  the  same  way  ;  and  so  proceed  with  the 
first  twelve  consonants  in  pairs.  Then  review  them  after  the  manner  of 
"the  house  that  Jack  built," —  thus :  Be,  Pe  ;  Be,  Pe,  Ga,  Ka ;  Be,  Pe, 
Ga,  Ka,  De,  Te,  etc.  See  Illustration  D. 

EXERCISE  2. 

Review  the  first  lesson  thoroughly.  When  it  is  mastered,  proceed  with 
the  remaining  c\>a.-vjiumt.s  in  tin:  wimc  manner.  Then  take  up  tin1  vocal 

18 


I  HE  CONNECTING  STROKE 

(d&sUsW/r-cutt'Oi'is  F  .  ) 


T  T  -  -«}»=S<H.~  --~  - 

VOCALS    BEFORE    UOWSOWEWT 


DlPHTHOKQAL  AMD  DlSJOINED  SlGNS 


J\l 


-P  OSITION  OF  VO 


POSITION 


ALPHABETICAL    SIGNS.  19 

signs  in  triads,  and  master  each  triad  thoroughly  before  attempting  the  sec- 
ond.    See  Illustration  E. 

EXERCISE  3. 

Review  the  two  preceding  lessons.  Proceed  to  write  each  vowel  before 
all  the  consonants  in  their  order,  joining  or  disjoining  according  to  the  rules 
given  ;  then  write  each  vowel  after  all  the  consonants,  observing  the  princi- 
ples laid  down.  See  Illustration  G. 

EXERCISE   4. 

Go  through  the  exercises  prescribed  in  the  preceding  lessons.  They 
should  be  repeated  day  after  day,  until  the  alphabet  can  be  penned  accu- 
rately with  the  same  facility  that  the  common  alphabet  can  be.  The  future 
progress  of  the  student  will  depend  very  much  upon  the  thoroughness  of 
these  introductory  exercises. 

The  student  should  now  read  a  part  of  the  first  exercise  ;  and  then  pro- 
ceed to  write  the  following  : — 

WRITING  EXERCISE  5. 

Be,  bay,  bah  !  boo  !  bow.  Pea,  pay,  pa,  pooh,  poe,  paw.  Key,  ka, 
coo,  co,  caw,  gay.  go.  Tea,  tay,  too,  toe,  tow.  Fee,  foo,  foe,  faw.  She, 
ehay,  shah,  shoe,  show,  show.  See,  say,  sah,  soo,  sow,  saw.  Thee,  they, 
though.  Me,  may,  ina,  moo,  mow,  maw,  nay,  gnow.  Know,  ke,  ray, 
raw,  roe.  He,  hay,  ha,  who,  hoe,  haw.  We,  way,  waa,  woo,  wee.  Jah, 
jar,  joe. 

Aid,  day,  ate,  knee,  ye,  lay,  fane,  date,  rate,  wait,  ace,  say. 

Ought,  taught.  Eat,  tea,  ape,  pay.  Abe,  bay,  ache,  go,  oak,  eke,  ease, 
owes,  oose,  oar,  row,  own,  know. 

SECTION.  2.     Connection  of  Signs. 

1.  All  the  signs  that  compose  a  word  must  be  joined  together,  except 
some   vocal  signs,  as  hereafter  specified.     The   dot  is  never  joined.     The 
dashes  are  disjoined  whenever  they  do  not  form  an  angle  with  the  consonant 
preceding  or  following.    See  Reading  Exercise  1,  lines  18  and  19.     Between 
two  consonants  they  are  joined  to  both,    when  they  form   an  angle  with 
both  ;  when  the  vowel  does  not  form  an  angle  with  both,  it  may  be  joined 
to  one  and  disjoined  from  the  other.     Reading  Exercise  1,  line  22. 

2.  A  connecting  stroke  may  be  used  with  other  semi-circles  as  well  as 
A  ;  but  no  connecting  stroke  is  used  with  the  dashes.     Reading  Exercise  2, 
line  12.     All  the  semi-circles,  except  A,  may  be  joined  without  an  angle,  to 
a  preceding  consonant,   forming  final  hooks.     See  Reading  Exercise  2,  lines 
5,  6,  and  7. 

3.  The  hook  is  made  larger  for  the  long  vowels  E  and  Ah,  to  distinguish 
them  from  the  short  sound  i  and  a,  which  form  small  hooks.     Exercise  2, 
lines  6  and  7.      It  must  be  especially  observed  that  these  hooks  are  always 
final  hooks,  —  never  initial.    Initial  hooks  are  used  in  compound  signs.    (See 
the  next  chapter.) 


20  LINDSLEY'S  PHONETIC  SHORT-HAND. 

WRITING    EXERCISE  G. 

Pa,  bah,  bar,  far,  deep,  reap,  keep,  part,  cart,  guard,  sharp,  door,  shore, 
mere,  hear,  seer,  tear,  rool,  soul,  toll,  bowl.  Ale,  fail,  hale,  dale,  awl, 
tall,  hall,  wall,  call,  cool,  moor,  tour,  soup. 

Am,  aim,  dam,  dame,  himn,  lame,  ham,  ram,  has,  last,  hasp. 

His,  hies,  hit,  with,  wit,  wisdom,  win,  wind. 

Hid,  heed,  did,  deed,  rid,  reed,  wit,  weed,  uiid,  meed. 

Bat,  bar,  i'at,  far,  pack,  park,  dark,  car. 

And  he  said  unto  them,  Let  not  your  good  be  made  evil.  Seek  peace. 
Forsake  every  evil  way.  He  did  the  deed.  He  hid  the  reed.  He  will  dip 
it  in  the  deep. 

4.  The  semi-circles  (except  A)  may  be  slightly  varied  in  direction,  as 
before  stated.     W  hen  such  variation  will  suffice  to  make  a  proper  angle,  it 
should  be  preferred  to  the  use  of  the  hook  for  all  long  vowels  ;  hut  the  hook 
is  preferred  for  all  short  vowels  ;  that  is,  use  the  hook  for  the  short  vowel 
whenever  convenient ;  avoid  the  hook  for  the  long  vowel  when  possible. 

5.  The  light  lines  of  the  diamond  points  may  be  curved  outward,  when 
they  will  thus  form  a  better  angle  ;      Reading  Exercises  2,  8  and  9.      The 
diamond  points  and  semi-circles  are  seldom  disjoined  ;  but  they  may  be  in  a 
few  cases.     When  the  semi-circies  occur  between  two  consonants  and  do  not 
join  readily  with  either,  they  should  be  disjoined.     The  use  of  connective 
forms  is,  however,  so  convenient,  that  some  prefer  to  use  two  connecting 
strokes  in  these  cases,  instead  of  disjoining  the   vowel.     See  Illustration  H 

6.  O  may  take  the  direction  of  «,  and  vice  versa,  when  more  convenient, 
in  forming  a  proper  angle.      See  Illustration  I.      Reading  Exercise  2,  lines 
10  and  11. 

EXERCISE  7. 

Epoch,  Enoch,  in,  ink,  been,  pin,  pink,  seek,  sick,  meek,  week,  weep, 
reap.  Fade,  lady,  ruddy,  muddy.  Rope,  hope,  lobe,  tuck,  luck,  muck, 
farmer,  farthing,  palm,  calm,  favor,  save,  safe,  lave,  love,  pave. 

SECTION'  3.     The  Position  of  Disjoined    Vowels. 

1.  A  disjoined  vowel  is  written  on  the  left  of  a  perpendicular  or  inclined 
stroke,  if  it  precedes  ;  it  if  it  follows,  on  the  right ;  it  is  written  above  a 
horizontal  stroke,  when  preceding,  below  when  following.     Reading  Exer- 
cise 1,  lines  17  to  20. 

2.  The  dots  and  disjoined  o,  are  written  near  the  middle  of  the  stroke ; 
the  other  vowels,  wlien  disjoined,  may  be  written  near  the  end.     They  are 
however,  perfectly  distinguished  by  form,  so  that  this  position  is  not  essen- 
tial to  their  significance. 

REMARK.  — Let  it  be  repeated  that  the  student  should  master  the  alphabet 
thoroughly  before  attempting  to  go  beyond  it.  See  Illustration  J. 

EXERCISE  8. 

Ebb,  egg,  ed.     Deck,  neck,  peg.     Separate,  section,  deceptive. 

Not,  non,  whut,  do,  to,  to-day.  Among,  men,  when,  ten,  den.  Bone, 
known,  alone,  done,  son,  one.  Fatal,  fadeless,  family,  seminary,  assidu- 
ously. 


ALPHABETICAL    SIGNS.  21 

REMARK.  —  The  student  must  review  every  day.  In  this  art  nothing 
should  be  considered  gained  until  ifc  is  perfectly  familiar.  We  give  a  mis- 
cellaneous exercise  to  facilitate  review. 

EXERCISE  9. 

Long.     A,  I,  0,  be,  he,  me,  we,  so,  go,  may. 

Short.     At,  am,  an,  in,  it,  on,  up,  us,  odd,  man. 

Irregular.     The,  she,  is,  has,  have,  are,  was,  you,  do,  does. 

I  am.  lie  is.  It  is.  She  is.  We  are.  You  are  I  was.  He  was. 
It  was.  She  was.  I  do.  You  do.  I  have.  You  have.  She  has.  It 
has.  I  go.  You  go. 

She  ia  up.  She  is  on.  He  is  in.  It  is  in.  He  is  up.  We  are  up. 
We  are  on.  AVe  are  in.  It  was  in.  It  was  up.  It  was  on.  She  was  up. 
I  do  it.  You  do  it.  I  have  it.  You  have  it.  She  has  it.  I  go  up.  You 
go  up.  I  go  on.  I  go  in.  You  go  in. 

I  am  a  man.  He  is  a  man.  You  are  a  man.  She  was  in  it.  I  was  in 
it.  O  !  do  go  in.  0!  do  have  it.  Are  you  the  man?  I  go  at  it.  She 
was  at  you.  Do  you  go  in  it  ?  Has  the  man  an  ear  ?  Does  he  go  in  ? 
Does  he  go  up  ?  Does  the  man  have  it  ?  We  are  upon  it.  We  go  in  it. 

REMARK..  —  We  add  a  few  nure  suggestions  for  practice. 

EXERCISE  10. 

Rewrite  the  preceding  lesson.  To  facilitate  this  review,  the  student  may 
omit  every  other  line,  when  making  the  first  copy,  and  rewrite  on  the  Hue 
left  open.  We  ask  pupils  who  take  private  lessons  to  leave  two  lines  ;  we 
correct  their  writing  on  the  second  line  ;  they  rewrite  on  the  third. 

REMARK. — The  pupil  will  now  proceed  with  reading  and  writing  alter- 
nately, adding  a  little  to  his  exercise  each  day.  He  should  be  sure  that  he 
can  read  all  lie  writes  as  well  as  the  printed  exercises;  and,  to  make  it  sure, 
he  must  actually  read  each  day  the  writing  exercise  of  the  preceding  day. 

SECTION  4.      Short   Vowels. 

Were  the  pupil  supposed  to  understand  the  sounds  of  the  letters  accu- 
rately, further  illustrations  might  be  spared.  The  distinction  between  the 
long  and  short  sounds  of  the  vowels  will  need  some  attention  by  most  per- 
sons. 

In  learning  the  short  vowels,  the  pupil  will  do  well  to  pronounce  and 
write  the  following  exercises : — 

ESERCISE  11. 

Ib,  eb,  ab,  oob,  ub,  ob.  Ap,  ep,  ip,  op,  up,  oop.  It,  et,  at,  cot,  ut,  ot. 
Ad,  ed,  id,  od,  ad,  ood.  If,  ef,  af,  off,  uf,  oof.  Is  (s,  not  z),  es,  us,  oos. 
In,  en,  an,  on,  un,  oon.  Im,  em,  am,  ooin,  um,  om.  Ill,  ell,  al,  ool,  ol,  ul. 
Ir,  er,  ar,  oor,  ur,  or. 

Said,  head,  led,  wed,  bed.  Peg,  1  -g,  beg,  deck,  neck,  wreck.  Add,  bad, 
ead.  lad,  had,  mad.  Mat,  hat,  rat,  fat.  Cap,  rop,  map.  It,  hit,  lit,  bit,  pit, 
sit.  Odd,  dot,  sot,  got,  hot.  Us,  thus,  much,  judge.  Soon,  nook,  took, 
rook,  look. 

SECTION  5.      Position  of  Outlines. 

The  first  perpendicular  or  inclined  consonant  in  a  word  must  rest  on  the 
line  of  writing.  Those  that  follow,  take  their  own  proper  directions  on  the 
line,  above,  or  below  it,  — as  the  case  may  be.  It  will  be  observed  that  the 
consonant  sign  forms  the  proper  limb  for  the  outline  to  rest  on.  In  the 


22  LINDSLEY'S  PHONETIC  SHORTHAND. 

word  lay,  for  instance,  the  Be  would  come  down  to  tlie  line,  nnd  the  A  lie- 
low  it ;  in  came,  Ka  rests  on  the  line,  A  is  just  lx-lo\v,  and  E/it  is  Mr. irk 
downward  ;  in  come,  Ka  is  written  as  before,  u  is  disjoined  and  tint,  struck 
upward  ;  in  Aim,  Ha  commences  on  the  line,  and  the  whole  outline  is  above 
the  line.  See  Illustration  K. 

EXERCISE  12. 

Car,  jar,  bar,  arm,  farm,  mar,  tar,  far,  cart,  barn,  park,  or,  for,  cork,  fork, 
cord,  lord,  sort,  form,  corn,  horn,  morn,  her,  herd,  jerk,  clerk,  serf,  err. 
cur,  fur,  bur,  burn,  urn,  lurk,  Turk,  curb,  turf,  surf,  curd,  curl,  furl, 
hurl,  curt,  fir,  sir,  firm,  dirk,  erk,  kirk,  quirk,  gird,  bird,  girl,  work, 
word,  world,  worm,  worst,  wort,  girt,  birth,  first,  dirt,  hurt. 

His  farm  has  a  barn  on  it.  He  rode  in  the  park  in  a  cart.  I  put  a  fork 
in  the  cork.  The  lord  put  a  cord  on  his  neck.  He  had  a  bur  Ibr  his  spur. 
Do  not  put  a  blur  on  the  paper.  A  Turk  may  lurk  in  the  dark,  and  take 
your  urn.  He  did  curb  him  on  the  turf.  The  surf  came  hi  a  wave  0:1  the 
turf.  The  girl  had  a  bird,  and  did  gird  on  a  belt.  He  spoke  not  a  word  iu 
the  world. 

SECTION  6.     The   Union   of  Letters  without   Angles. 

Both  consonants  and  vocal  signs  may  often  unite  without  an  angle.  Thia 
adds  to  the  facility  of  the  writing  ;  both  letters  should  be  strut .-k  as  though 
they  were  one.  But  all  angles  are  determined  by  strict  geometrical  lawn, 
and  the  student  should  be  as  careful  to  make  an  angle  when  it  is  required, 
as  to  avoid  it  when  it  is  not  required.  Observe  that  the  consonant  curves 
are  quarter-circles,  and  the  vocal  curves  semi-circles,  and  you  will  easily  de- 
termine the  anj>;le.  Reading  Exercise  2,  lines  1,  2,  and  13. 

NOTE.  —  It  will  be  remembered  that  a  vowel  before  a  consonant,  or  joined 
to  it  at  the  point  of  commencement,  must  make  an  angle  ;  but  on  the  end, 
the  semi-circles  (except  A)  may  form  hooks.  This  is  a  species  of  contrac- 
tion, since  it  saves  one  stroke.  See  Illustration  L. 

Double  letters,  so  called,  in  the  common  orthography,  do  not  occur  in 
Tachygraphy  ;  but  the  same  letter  is  often  repeated,  with  an  intervening 
vocal  sound.  When  this  sound  is  represented  by  a  dot  or  disjoined  vowel, 
we  have  forms  seen  in  Illustration  M. 

EXERCISE   13. 

Key,  debt,  mated,  bubble,  public,  dead,  favor,  memory,  nnrndinp. 
eor,  accessory,  sustenance.     Judge,  edged,  etched,  judged,  latched,  error, 
rarer,  horror. 

Move,  method,  mother,  meditate,  met.     Gun,  ken,  government,  court, 
color,  bend,  ribbon,  ebon,  depend.     Doth,  death,  eight.     Sun,  sun-. 
ness,   business,    lemon,   melon,   multitude,   multitudinously,    luminously. 
Hazel,  Joseph,  several,  safe.     Antedated,  indebted,  undoubted,  mismatcd. 

NOTE.  — The  student  should  bear  in  mind  that  a  ready  use  of  the  alpha- 
betic characters  in  all  their  possible  combinations  is  the  basis  of  good  and 
rapid  writing.  The  preceding  exercises  should  be  written  and  corrected  by 
a  competent  instructor;  and  then  rewritten  many  times  until  the  pupil  can 
write  them  with  no  hesitation.  When  this  is  accomplished,  it  will  be  safe 
to  proceed  to  the  next  chapter. 


COMPOUND    SIG-NS. 


SIGN  NAME.  SOUND. 

THE    EL    SERIES. 

f  Bla,  bl  in  blow  and  able. 

f  Pla,  pi  in  plow  and  people. 

^  Gla,  gl  in  glow  and  eagle. 

V  Cla,  cl  in  clay  and  fickle. 

c_  Dl,  dl  in  idle. 

<^-  Tl,    tl  in  settle. 

.)  VI,   vl  in  oval. 

X  Fla,  fl  in  fly  and  awful. 

THE    RA    SERIES. 

1  Bra,  br  in  brow  and  number. 

1  Pra,  pr  in  prow  and  upper. 

<\  Gra,  gr  in  grow  and  eager. 

<\  Cra,  cr  in  crow  and  meeker. 

e—  Dra,  dr  in  draw  and  wonder. 

tr-  Tra,  tr  in  try  and  utter. 

f  Vr,   vr  in  ever. 

/  Fra,  fr  in  free  and  safer. 

/  Zhr,  sure  in  measure. 

'  Shra,  shr  in  shred  and  usher. 

*^  Thr,  th  in  either. 

^  Thra,  th  in  three  and  anther. 

<::-^  Nr,    nr  in  owner. 


SIGN.      NAME.  SOUND. 

THE    ES    SERIES. 

f  Spe,  sp  in  spy. 
\  Ske,  sk  in  sky. 
^_  Ste,  st  in  stay. 

/    Sfc,  sph  in  sphere. 
»     Sine,  sm  in  smite. 
<i_^  Sne,  sn  in  snow. . 
aJ  Sle,  si  in  slow. 

<x^  Swe,  sw  in  swell. 

THE    WA    SERIES. 

(^  Wha,  wh  in  when. 

^i/Thwa,  thw  in  thwack. 

V-'  Gwa ;  FO  also  Kwa,  Dwa,  and 
Twa. 

THE  FINAL  CIRCLE. 

b     Eps,  ps  in  hopes. 

L    Ebz,  bs  in  hubs  ;  so  also  Eks, 

Egs,  &c. 
v-»  Ence,  nc  in  hence. 

V_P  Ens,  ns  in  tens. 

•A  Els,  Is  in  else. 
/  Elz,  Is  in  ills. 
s?  Ers,  rs  in  worse. 

/    Erz,  rs  in  wars. 


Tha,  th  in  they. 
Tha,  th  in  birth. 


CHAPTER    V. 
SECTION  1.     Compound  Sounds  and  Signs. 

THE  vocal  diphthongs  I,  Ew,  Oi,  and  Ow^are  represented  by  compound 
signs.  These  signs  have  a  relation  to  the  signs  of  the  simple  sounds.  In 
analogy  with  this,  we  use  signs  for  certain  combinations  of  consonant 
sounds.  These  sounds,  when  so  represented,  are  considered  and  treated  as 
diphthongal  sounds,  and  consequently  this  mode  of  representing  them  is  in 
accordance  with  phonic  science,  as  well  as  convenient  in  practice. 

The  combinations  recognized  as  compounds  belong  to  the  Wa,  El,  Ra,  and 
Es  Series. 

1.  The  Wa  Series  consists  of  Wh  (hw),  gw,  kw,  dw,  thw,  and  tw.     The 
first  only  is  provided  with  a  distinctive  sign  ;    its  use  is  invariable.     The 
gw,  kw,  dw,  tw,  thw,  are  written  by  joining  the  simple  signs  in  the  usual 
way.     -See  Illustration. 

WRITING  EXERCISE  14. 

Whay,  why,-  while,  where,  wherein,  wherever,  whereabout,  wherefore, 
whereto,  which,  wharf,  whale,  wheel,  whiff,  whip,  whittle,  wheedle,  Whig, 
whey,  whoa,  whew,  wheeze,  wheezing,  whelm,  when,  whence,  whenever, 
whensoever,  wheresoever,  whereas,  whereat,  whereinto,  whereof,  whereon. 

Qui,  yuae,  qua.  quick,  quiet,  querl,  quarrel,  quench,  quill,  quail,  quart, 
query,  quarry,  quadraginta,  quinquaginta,  quintuple,  quadruped,  quaff, 
qualify,  quality,  quandary,  quantity,  quarto,  quib,  quickness,  quiesce,  qui- 
etism, quietly,  quietness,  quietude,  quietus,  quinque,  quire,  quiz,  quizzical, 
quizzing,  quo  ad  hoc,  quo  animo,  quota,  quoth,  quotidian,  quo  warranto. 

Equal,  aqueous,  aquafortis,  equality,  equiform,  equiformity,  equip,  equi- 
page, equipoise. 

Acquire,  acquiring,  equity,  acquiesce,  aqueduct,  Aquitanian. 

2.  The  El  Scries  is  Bl,  pi,  gl,  kl,  and  fl.     The  first  four  are  represented 
by  the  alphabetic  signs  for  Be,  Pe,  Ga,  and  Ka,  varied  only  by  an  initial 
hook  on  the  right  side  of  these  signs  ;  Fl  by  an  initial  hook  on  the  El. 
Reading  Exercise  3,  line  2. 

3.  The  Ra  Series  is  Br,  pr,  gr,  kr,  dr,  tr,  fr,  thr,  and  shr.     An  initial 
left-hand  hook  characterizes  the  first  four,  alsofr  and  thr.     A  hook  on  the 
under  side  of  De  and  Te,  dr  and  tr ;  and  a  hook  on  the  Ar,  shr.     Reading 
Exercise  3. 

These  compound  signs  are  employed  in  all  cases  when  the  sounds  coa- 
lesce ;  as  in  the  words  play,  pray,  blow,  brow,  try,  reply,  displace,  etc. 

EXERCISE  15. 

PI,  pr,  bl,  br,  tr,  dr,  kl,  kr.  gl,  gr.  fl,  fr,  thr,  shr. 

Play,  pray,  dry,  glow,  grow,  glee,  bray,  tray,  dray,  try,  plow,  prow,  blew, 
brew,  clue,  glue,  grew,  trouble,  drabble,  trapper,  trooper,  broker,  platter, 

23 


24  LIXDSLEY'S  PHONETIC  SHORT-HAND. 

prattle,  clutter,  battle,  batter,  flow,  fro,  oval,  over,  through,  cither,  initial, 
treason,  pleasure,  brother. 

Place,  blaze,  brays,  prays,  bless,  presc,  trar-;>,  grace,  glows,  grows,  power- 
ful, travel,  gravel,  clever,  glover,  thrive,  shriek,  display,  destroy,  distress, 
prosper,  expn  s-.  describe,  descry,  subscribe,  dis^-rai-.",  disclaim,  discreet, 
testy,  exclaim,  disclaimer,  discriminate,  criminal,  bridge,  trial,  glimpse,  dis- 
agree. 

4.  The  Es  Series  is  Sp,  sk,  st,  sf,  sin,  sn,  and  sw,  as  initial  compounds. 
The  compound  sign  is  not  used  when  the  s  is  a  first  consonant  in  the  word, 
and  is  preceded  by  a  vowel.  The  circle  would  be  used,  for  instance,  in  spe- 
cial, but  not  especial.  It  would  be  used  in  stem,  state,  scout,  but  not  in 
esteem,  estate,  sect.  If  preceded  by  a  vowel  in  the  beginning  of  a  i-yllab!e, 
it  is  employed  when  the  two  sounds  arc  clearly  diphthongal  ;  if  not,  not. 
Exercise  3.  E.g.:  dispose  is  properly  divided  between  the  dis  and  pose, 
and  the  s  and  p  are  clearly  separated  in  pronunciation  ;  but  the  word  de- 
spair is  divided  de-spair,  leaving  sp  as  a  compound.  Restore,  respond, 
bespeak,  bestow,  are  other  examples  of  compounds  ;  distance,  dispense, 
discover,  mistake,  examples  that  do  not  contain  compounds.  It  will  be 
observed  that  the  Es  circle  is  on  the  El  hook  side  of  the  straight  signs,  and 
on  the  inside  of  the  curves. 

SECTION  2.     Compounds  of  the  Eland  Ra  Scries  in  Final  Syllables. 

1.  The  final  syllables  of  feeble,  local,  paper,  rightful,  leader,  water,  etc., 
contain  no  vocal  sound  ;  yet  the  consonants  do  not  unite  as  closely  as  tiiey 
do  in  initial  syllables.  The  use  of  the  compound  signs  in  these  cases  is  not 
so  strictly  phonetic,  but  no  indefiniteness  can  result  ;  and  their  use  will  bo 
found  of  great  service  in  many  words.  The  full  form  will,  however,  some- 
times make  a  better  outline,  and  join  more  conveniently  with  a  preceding 
vowel. 

In  final  syllables,  the  initial  compounds  are  used,  together  with  the  fol- 
lowing :  dl,  tl,  vl,  vr,  thr,  zhr,  and  nr.  Heading  Exercise  o,  lines  10  to  12. 

It  will  be  observed  that  initial  1  and  r  are  never  represented  by  the  hook  ; 
that  the  hooked  character  is  seldom  used  when  the  two  sounds  are  not 
closely  united  ;  that  the  remaining  part  of  the  word  often  determines 
whether  it  is  best  to  use  it  or  not.  A  little  care  and  experience  will  obviate 
all  difficulty. 

EXERCISE  16. 


Treble,  terrible,  traitor,  Tartar,  frame,  farm,  odor,  adore,  utter,  attire, 
Beeker,  secure,  idle,  dull,  glow,  goal,  clay,  cor.l,  (Inv,  follow,  evil,  v.-ilh-y, 
fritter,  ferreter,  turtle,  tortois:1,  break,  bark,  breath,  birth,  frail,  furl,  trade, 
tardy,  blubber,  pilfer,  gutter,  guitar,  crier,  currier,  boulder,  bladder,  plaid, 
pallid,  peal,  plea,  pale,  play,  Saturday,  stride,  purpose,  propose,  torpor, 
trapper,  brawl,  barrel,  crave,  carve,  cur\. 

2.  When  Ivs  in  the  end  of  a  syllable  unites  with  a  preceding  consonant, 
the  circle  may  be  employed;  and,  since  E,s  only  can  be  Hounded  after  the 
aspirate:-.  IV,  'IV,  etc.,  and  Ze  only  after  the  sub-vowels,  Be,  De,  etc.,  the 
circles  may  lie  employed  in  the  end  of  syllables  for  either  Es  or  Ze.  After 
El,  Ra,  and  En,  either  Es  or  Ze  may  be  pronounced  ;  so,  after  these  letters, 


OA    N    *  REPEATED 


mm 


SERIE 


°    TIE 


TRIPHTHONGAI,    CUitBlXATIOXS.  25 

we  make  one  side  of  the  circle  heavy  for  Ze,  while  the  Es  circle  is  made 
light. 

3.  When  a  syllable  is  added  to  a  word  ending  with  the  circle,  if  the 
added  syllable  begin  with  a  vowel,  the  circle  is  changed  into  Es ;  if  it  begin 
with  a  consonant,  the  circle  is  retained.  It  would  be  retained  in  thence- 
forth, henceforward,  ratsbane,  boxwood,  etc.  Note,  however,  that  ing,  as 
a  p-u-ti."ipial  termination,  may  be  added  after  the  circle,  as  the  vowel  is  sel- 
dom written  with  it,  and  the  plural  termination  es  in  like  manner 

WRITING  EXERCISE  17. 

Hopes,  hats,  hooks,  hubs,  heads,  hogs,  heaves,  leaves,  laughs,  wills,  else, 
ills,  worse,  wars,  purse,  first. 

Of  two  evils,  choose  the  least.  Such  as  boast  much  usually  fail  much. 
We  hope  to  be  able  to  leave  on  the  day  you  name.  It  is  easy  to  demolish, 
but  far  less  easy  to  raise  up.  What  is  requisite  to  secure  readiness  and  ex- 
quisite nicencs.s  in  the  appearance  of  such  an  exercise?  1  may  answer,  first 
study  the  peculiarities  of  each  form  till  the  reason  and  science  of  every  part 
of  it  is  fully  understood.  Then  write  it  over  several  times  with  much  care 
till  you  are  able  to  make  the  forms  accurately.  To  make  the  most  of  the 
exercise,  you  should  write  and  rewrite  it  till  you  can  pen  forty  to  sixty  words 
in  a  minute.  T lien  read  it  over  and  over  again  till  you  can  read  it  as  easily 
as  printing,  even  backwards. 

What  a  huge  ball  is  this  earth  on  which  we  live!  How  multiform  its 
varied  features  !  How  marvellous  its  destiny !  His  exquisite  taste  leads 
him  to  test  tilings  nicely.  Is  this  the  reason  that  he  is  called  testy?  It  is 
not  best  to  boast  at  random  or  ever  rashly. 

At  tiie  last  ball  of  the  season  the  hall  was  very  magnificently  decorated. 
>i>.rs  never  come  back.  Time  once  passed  never  returns.  Haste  some- 
times embarrasses  success,  and  seldom  leads  to  more  despatch.  He  missed 
it  at  last.  Most  may  secure  all  that  would  be  best  for  them  to  possess. 
You  must  seek  in  earnest,  if  you  hope  to  secure  such  a  bonus. 

The  boy  has  an  easy  task,  and  should  be  required  to  perform  it  well,  or 
give  reason  for  his  recklessness  in  the  discharge  of  duty.  An  unjust  judge 
may  be  lc;d  to  seek  for  justice.  Will  rust  corrode  the  poKshed  steel  ?  The 
st  /r;u  still  rages,  but  the  helmsman  steers  the  vessel  with  the  skill  of  a 
statesman.  The  stoic  laughs  in  the  face  of  danger.  You  must  go  fast,  if 
you  would  overtake  him. 

SECTION  3.     Triphthonyal  Combinations. 

In  the  triphthongal  combinations,  spr,  str,  skr,  and  spl,  s  is  written  with 
the  long  sign,  and  pr,  tr,  kr,  and  pi  are  treated  as  compounds.  Reading 
Exercise  3. 

REMARK.  —  These  and  other  compound  signs  should  not  be  considered  con- 
tractions ;  their  use  is  strictly  phonetic,  and  tends  to  make  the  writing 
more  legible  and  beautiful.  They  can  give  the  student  no  trouble  when 
once  he  comprehends  the  principle  ;  their  use  is  seldom  in  any  degree  equiv- 
ocal. See  Illustration  O. 

EXERCISE  19. 

Supple,  supper,  sable,  sabre,  cider,  settle,  setter,  sickle,  sicker,  sucker, 
suckle,  struggle,  streamer,  scraper,  scribble,  scruple,  distress,  prosper,  ex- 
press, expressive,  extra,  exclaim,  disgrace,  describe,  disagmiabl.'.  <ksuriber, 
strata,  pastry,  disclaim,  disclose,  sooner,  suitor,  suttle,  sphere,  suffer,  safely, 
safer,  sever,  swivel,  sparrow,  spray,  spar,  stratum,  saturate,  saddle,  badly. 


26  LINDSLKY'S  PHONETIC  SHORT-IIAND. 

sagely,  ancestor,  ancestry,  imprest,  impostor,  imply,  employ,  impel,  temple, 
temper,  tamper,  tempter,  trample. 

Try  to  do  right,  ami  you  will  be  quite  likely  to  succeed.  The  flowing 
•waves  please  the  hopeful  angler.  The  gloomy  clouds  are  full  of  awful  f  >:v- 
bodings.  She  is  an  affable  and  amiable  young  lady,  and  nobly  performs  her 
pleasing  but  tiresome  duty. 

Idleness  is  a  plague  to  the  scholar,  for,  unless  he  applies  himself  closely  to 
his  books,  he  loses  all  claims  to  the  applause  of  his  family  or  hie  oiDcial  su- 
periors. 

In  order  to  excel  in  any  business,  it  is  necessary  to  persevere  and  avoid 
frittering  away  our  energies  on  too  many  pursuits. 

They  are  in  danger  of  losing  the  opportunity,  and  when  will  they  have 
one  in  all  respects  superior  ?  To  acquire  any  science  of  real  worth  requires 
much  labor,  care,  and  perseverance. 

SECTION  4.     The  Circle  between  two  Consonants. 

When  the  circle  conies  between  two  consonants  forming  an  angle,  it  is 
written  on  the  outside  of  the  angle  ;  or,  more  explicitly,  there  ar?  three  cases  : 
first,  when  the  circle  comes  between  two  straight  strokes,  it  is  then  always 
on  the  outside  of  the  angle ;  second,  between  a  straight  stroke  and  a  curve; 
it  is  written  on  the  inside  of  the  curve;  third,  between  two  curves  it  is 
written,  first  on  the  inside  of  both  when  possible  ;  second  on  the  inside  of 
that  with  which  the  sound  is  allied  ;  or  third  on  the  upper  side  when  its 
position  is  not  otherwise  determined.  See  Illustration  P. 

EXERCISE  20. 

Spk,  p-ks,  st-m,  t-m  z,  m-ts,  sn-d.  sn-ch,  eh  ns,  ef-t,  f-ts,  sr  m-n  r-m-ns, 
sr-m-ns,  sm-r-m-rz,  srn-l-r,  sk-l-r,  sw-bz,  sr-n-t,  1-k-ns,  1-n-s,  1-r-js,  1-gz,  1-jz, 
el-k,  sh-dz,  d-g-n-fz,  sl-m-1,  d-m-ns. 

Bsk,  bst,  vst-1,  bseh,  fsn,  psm,  dzr,  rsk,  hsk,  rsn,  psl,  psr,  gsr-t,  mzr, 
nrsl,  nsr,  rsv,  hst,  hsl,  nv-re-n-r,  ms-l-ns,  ds,  p-ch,  dspzd,  dsch-r-j,  dsks, 

FJ- 

Kst,  ksch-n-j,  gzbt,  nst,  ngst,  kpsk,  kspnsv,  n-dsp-nsb-1,  nst-n-t-ns,  dsgzd, 
bst-rn-ns. 

Psp,  tst,  dsd,  tskrs,  kskss,  fsf,  Isl,  osr,  rsr,  msm,  nsn,  using,  fsl,  fsls,  fsr, 
nsm,  msn,  mknzn,  tsm,  mst,  tsn,  rtsn,  stzn,  spzm,  mdst,  psn,  Isn,  Isng. 

Chss,  spsz,  msz,  gzst,  nsst,  nssr,  pssz,  ksrsz,  pssv,  n-f-r-nsz,  n-kssb-1, 
ekssf-1. 

The  sweetest  meat  may  be  encased  in  the  hardest  shell.  Shell  fish  are 
among  the  richest,  rarest,  and  best.  Pomposity  may  subserve  some  worthy 
purpose,  but  ill  becomes  a  solid  theme. 

There  are  blessings  in  store  for  all  those  who  seek  for  goodness ;  glory, 
honor,  and  immortality  for  all  who  find  the  truth.  There,  in  those  heav- 
enly climes,  are  joys  that  never  fade  ;  there,  shall  sorrow  be  assuaged,  and 
darkness,  fear,  and  doubt  forever  tty  away  ;  there,  the  happy  spirit  shall  re- 
joice in  glory  hoped  for  long,  and  prayed  for,  oh,  how  fervently  !  Their  own 
neglect  of  God  shall  curse  the  souls  who  sought  him  not ;  their  own  desires 
be  given  those  who  chose  error  instead  of  truth,  who  preferred  darkness  to 
light,  the  praise  of  men  to  virtue's  sure  reward. 


CHAPTER    VI. 

SHORTENED  FORMS. 

WE  have  given,  in  the  preceding  chapters,  all  the  principles  that  are  es- 
sential in  writing  the  common  style  of  the  art.  Considerable  increase  of 
speed  may,  however,  be  effected  by  observing  the  following  principles,  which, 
while  they  are  not  strictly  phonetic  in  their  nature,  are  still  so  exceedingly 
simple  and  natural  as  to  present  no  difficulties  to  the  practical  writer :  — 

/ 

SECTION  1.     Contraction  of  Vowels. 

1.  Oo  may  be  written  for  Ew  after   Ya,  and  En  in  words  where  Oo  is 
more  convenient ;  as  in  the  words  union,  write,  occupy,  etc.     Reading  Ex- 
ercise 4,  line  1. 

2.  After  En,  the  connecting  stroke  may  be  written  for  i,  and  the  vowel 
omitted,  as  in  any,  many,  sunny,  etc.     Reading  Exercise  4,  line  2. 

SECTION  2.     Omission  of  Vowels. 

1.  The  common  style  of  the  system  may  be  written  with  perfect  accu- 
racy with  the  omission  of  no  vowels  ;  but  the  adept  will  increase  his  speed 
without  sacrificing  legibility,  by  omitting  those  vowels  that  do  not  connect. 
This  may  be  often  done,  but  not  always.     If  the  vowel  commences  the  word, 
it  should  be  written ;  and  when  the  omission  would  leave  an  equivocal  out- 
line, the  vowel  is  required  in  one  of  the  words  to  be  distinguished;    thus, 
omit  the  vowel  of  for,  but  insert  it  in  fair  ;  omit  it  in  her,  and  insert  it  in 
hair,  etc. 

Vowels  may  be  omitted  as  specified  in  the  following  cases  :  (a)  In  a  few 
short  words  of  common  occurrence,  —  do,  to,  which,  that,  what,  not,  for, 
from,  was,  one,  once,  where,  there,  done,  could,  would,  should,  when,  unto, 
were,  of,  but,  etc.  Reading  Exercise  4,  lines  3  and  4. 

(b)  In  long  words  they  may  be  often  omitted.     This  should  always  be  done 
in  final  unaccented  syllables  ending  in  en,  er,  on,  ble,  cle,  and  generally  in 
al,  ar,  an,  etc. 

(c)  The  terminations  es,  ed,  iny,  less,  ness,  when  mere  affixes,  and  the 
prefix  com,  when  unaccented,  may  omit  the  vowels;  and  generally  in  long 
words  an  unaccented  vowel  may  be  omitted  when  it  is  unconnected,  and 
when  its  use  is  not  needed  to  distinguish  the  outline  from  a  similar  outline. 
Reading  Exercise  4,  lines  5  to  12. 

2.  Accented  vowels  should,  as  a  rule,  be  written  ;  and  all  vowels  that 
are  clearly  sounded  should  be  written  in   proper  names  of  persons   and 
places,  in  foreign  words,  and  all  that  are  uncommon  and  liable  to  be  misun- 
derstood.    Reading  Exercise  4,  lines  12  to  20. 

27 


28  KINDS!, KV's    PHONETIC    SIIOKT-IIAXD. 

REMARK.  —  1.  We  do  not  encourage  the  substitution  of  oo  for  U  in 
speaking  the  words  contracted  l>y  the  use  of  this  briefer  sign.  Its  use  in 
such  words  as  tune,  substitute,  constitution,  and  a  large  number  of  words  of 
this  class  is  a  fault  ;  but  the  writer  of  short-hand  will  consult  convenience 
instead  of  perfect  accui-acy.  For  the  instruction  of  children,  a  more  per- 
fectly written  style  than  the  common  may  be  desirable. 

2.  The  omission  of  vowels  may  be  carried  safely  to  a  greater  extent  than 
indicated  above;  and  the  writer  who  would  secure  any  great  rapidity  must 
at  least  avoid  the  use  of  all  obscure  and  unimportant  vowels. 

3.  The  introduction  of  a  vowel  sometimes  relieves  the  form,  and,  by 
presenting  a  bettor  angle,  increases  instead  of  lessens  the  rapidity.     Back 
is  written  more  easily  than  beck ;  pick  ih&Tipeck;  tick  and  lack,  Dick  and  dock, 
than  tuck  and  deck. 

SECTIONS.     Facilcncss  of  Form. 

1.  The  doctrine  of  angles  needs  much  attention.     An  acute  angle  is 
better  'than  an  obtuse.     See  Chapter  IV.  Section  G.     By  the  proper  use  of  the 
vowels  and  vowel  hooks,  the  compound  signs  and  the  forms  for  L,  M,  and 
II,  facile  forms  may  always  be  secured. 

2.  The  student  must  cultivate  a  knowledge  of  brief  forms,     lie  can  guin 
much   by   reading  short-hand   papers,  but  during   the  first  two  or   three 
months  of  practice  should  have  his  papers  corrected  by  an  expert  in  the  art. 

EXERCISE   21. 

Deviation  from,  or  omission  of,  or  addition  to,  truth,  is  nothing  more  or 
less  than  a  lie.  Be1  as  slow  in  deliberation  as  the  case  will  allow,  but  quick 
in  execution,  unless  weighty  objections  render  an  opposite  course  necessary. 
Resolution  and  perseverance  remove  all  obstructions  to  progression.  Aiu'ni- 
tion  is  the  occasion  of  sedition,  confusion,  and  dissolution,  and  arouses  every 
evil  emotion  and  passion.  Affectation  will  surely  expose  a  man  to  dc:  i.-i.>n 
in  proportion  to  his  assumption.  The  acquisition  of  knowledge  is  greatly 
facilitated  by  a  disposition  to  understand  whatever  is  obscure  in  common  af- 
fairs. As  possessions  of  mental  treasure  are  beyond  compare  with  metal, 
precious  though  it  be,  so  the  possession  of  moral  worth  transcends  the  sub- 
liineBt  acquisitions  of  the  intellect. 


CHAPTER    VII. 

PHRASE  SIGNS. 

1.  A  GREAT  increase  of  speed  in  writing  is  effected  by  the  use  of  connective 
vocal  signs.     A  similar  advantage  is  gained  by  connecting  several  words  into 
the  same  outline.     Such  phrases  as  of  the,  on  the,  to  the,  to  a,  of  it,  with  it, 
it  is,  etc.,  may  be  written  without  taking  the  pen  from  the  paper  ;  and,  in 
some  cases,  even  longer  phrases  may  be  so  treated,  as,  for  instance,  at  this 
time,  in  that  way,  at  one  time,  in  such  a  way. 

They  rather  increase  than  lessen  the  legibility  of  the  writing,  when  judi- 
ciously employed. 

2.  Phrase  signs  should  be  employed  for  phrases  only,  or  for  words  closely 
connected  in  the  sentence ;  either  a  grammatical  or  rhetorical  pause  between 
words  should  lead  the  writer  to  separate  them  in  writing. 

The  following  phrases  are  given  as  examples  ;  but  if  proper  attention  be 
paid  to  pauses,  the  writer  may  increase  their  number  indefinitely  :  — 

In  truth,  in  fact,  in  fine,  in  short,  in  general,  in  particular,  no  doubt,  of 
course,  as  it  were,  to  be  brief,  to  be  sure,  without  doubt,  without  question, 
beyond  question,  in  the  mean  time,  in  a  word,  by  chance,  for  the  most  part. 
For  further  examples  see  Reading  Exercise  5. 

3.  Whether  the  words  of  a  phrase  should  be  united  in  writing  depends 
very  much  upon  the  convenience  of  the  joining.     When  the  words  unite 
without  an  angle,  as  is  often  the  case,  it  adds  greatly  to  the  facility  of  the 
writing.     Such  is  the  case  in  the  following  phrases  :  ought  to  be,  ought  to 
do,  at  the,  to  them,  from  this,  from  that,  from  them,  etc.     But  it  will  be 
found  inconvenient  to  join  more  than  two  letters  without  an  angle  ;  this  is 
sometimes  necessary  in  word  outlines,  but  should  be  avoided  in  phrases  gen- 
erally. 

4.  Very  common  phrases  may  omit  the  vowels  often,  where  it  would  not 
be  admissible  if  the  words  stood  alone.     The  first  word  should,  however,  be 
fully  vocalized,  and  no  vowel  omitted  that  would  leave  the  phrase  obscure. 
Phrases  commencing  with  he,  we,  you,  and  some  other  words,  omit  the  first 
vowel.     See  Reading  Exercise  5. 

5.  But  if  the  first  word  contain  an  unconnected  vowel,  the  vowel  of  the 
second  word  should  be  written  ;  as  in,  to  it,  to  invest,  from  this,  etc. 

REMARK.  —  Students  frequently  commence  by  making  their  phrases  too 
long.  Two  or  three  words  only  should  constitute  a  phrase  in  most  cases  ; 
yet  four,  five,  or  more  may  be  sometimes  employed.  It  is  tetter,  how- 
ever, to  make  the  phrases  too  short  than  too  long ;  and  especially,  where 
the  words  are  dissociated  in  sense,  they  should  not  be  made  into  long 
phrases. 

29 


30  LINDSLEY'S  PHONETIC  SHORT-HAND. 

EXERCISE  22. 

As  good.  As  great.  As  if.  As  it  may  be.  As  it  should  be.  As  long 
as.  Can  be.  Cannot  be.  For  instance.  For  it  should  be.  For  the.  For 
•which.  From  me.  Have  been.  He  has  been.  He  has  not.  He  should. 
He  was.  He  will.  1  believe.  I  can  do.  1  will  not.  I  may  say.  If  there 
is.  If  this  is  so.  In  a.  In  the.  In  any.  In  no  way.  In  such.  At  that 
time.  In  the  world.  It  is  not  necessary.  It  seems  to  be.  It  ought  to  be. 
It  would  not  be.  Learned  friend.  More  than.  My  brethren.  Of  the. 
Of  them.  On  account.  On  the.  Or  the.  Ought  not  to  be.  Ought  to 
have.  Public  service.  Shall  be.  Should  be.  So  as  to  be.  So  that.  It  is 
impossible.  The  present  time.  The  first.  The  way.  The  truth.  The 
chance.  Take  place.  Take  care.  That  the.  That  we.  There  are.  There 
is.  There  were.  They  have.  They  will  be.  To  be.  To  do.  To  have 
done.  To  the.  We  are.  We  may.  We  have.  We  wish.  AVhat  is  the? 
When  we.  When  they.  Which  you  know.  Which  will  be.  Will  be 
done.  Will  they?  With  this.  With  that.  With  our.  With  reference 
to.  Would  be.  Would  you?  Would  they?  You  are.  You  had  been. 
You  were.  You  will  be.  Your  own.  Yours  truly. 

In  order  to  love  mankind,  expect  but  little  from  them.  We  dwellers  in 
this  world  of  error  are  like  men  walking  through  the  streets  of  a  city  on  a 
foggy  morning.  Every  one  imagines  that  immediately  around  himself  there 
is  little  or  no  fog,  but  around  others,  at  a  little  distance  from  him,  he  per- 
ceives it  to  be  thick  and  blinding.  In  the  day  of  wooden  ploughs,  the  great 
danger  waB  in  going  too  fast  and  knowing  too  much  ;  now,  the  difficulty  is 
to  go  fast  enough  and  know  enough.  Be  not  dismayed  or  unmanned  when 
you  should  be  bold,  daring,  unflinching,  and  resolute.  The  cloud  whose 
threatening  murmurs  you  hear  with  fear  and  dread  is  pregnant  with  bless- 
ing, and  the  frown  whose  sternness  now  makes  you  shudder  and  tremble, 
will,  ere  long,  be  succeeded  by  a  smile  of  bewitching  sweetness  and  benig- 
nity: 


CHAPTER    VIII. 

UNIFORMITY  OF  OUTLINE. 

SECTION  1.     L,  M,  and  R. 

IT  is,  if  not  of  prime  necessity,  yet  of  no  little  importance  to  the  writer, 
that  he  use  the  same  form  for  the  same  word  at  all  times.  A  difference  of 
outline  will  not  render  the  reading  necessarily  obscure,  any  more  than  a 
similar  mistake  in  long-hand,  nor  so  much  ;  because  the  writer  of  this  sys- 
tem need  never  mistake  the  true  letters  of  any  word  that  he  can  properly 
pronounce,  and  can  hesitate,  for  the  most  part,  if  he  hesitate  at  all,  only  in 
the  use  of  the  signs  for  L,  M,  and  R.  It  may  be  a  matter  of  taste,  how- 
ever, whether  to  insert  or  omit  a  vowel  when  unaccented,  and  whether  to 
i:se  the  full  form  or  the  contracted  for  final  syllables  ending  in  L  and  R. 

We  give  below  a  few  rules  that  will  aid  the  student  in  securing  uniform- 
ity of  outline. 

NOTE.  —  The  upward  forms  of  the  three  varied  consonants  are  named  La, 
Ma,  Ra  ;  the  downward  forms  El,  Em,  and  Ar  for  convenience. 

The  direction  of  the  variable  letters  is  determined  by  their  union,  first 
with  the  vowels,  second  with  the  consonants.  We  use  for  convenience  here, 
as  in  some  other  cases,  the  names  of  the  letters  for  the  signs  indicated.  See 
the  alphabet. 

1.  (a)   Ma  should  follow  E,  i;  Ah,  a,  and  I.     Em  always  follows  A ; 
Ma  precedes  0,  u,  I,  and  Ew.     In  other  cases  Em  and  Ma  are  equally  con- 
venient. 

(b)  La  is  used  before  A,  Ah,  and  a,  6,  Ew,  and  Ow.     El  precedes  E,  i, 
and  Au.     La  follows  0  ;  and  El,  Oo  and  oo.     With  other-vocals,  El  and  La 
are  equally  convenient. 

(c)  Ra  is  most  convenient  before  A,  ah,  a,  0,  Au,  and  u  ;  and  after  E, 
i,  Ah,  a,  I,  and  Ew.     Ar  is  always  used  after  A  unless  A  is  disjoined  ;  and 
is  more  convenient  after  Oo  and  oo.     In  other  cases,  Ar  and  Ra  are  equally 
convenient.     Ra  is  used  almost  always  for  initial  R. 

2.  La,  Ma,  and  Ra  are  preferred  both  before  and  after  a  descending 
stroke,  and  in  most  cases  before  the  ascenders,  Wa,  Ya,  and  Ha.     With  the 
horizontals,  the  upward  or  downward  form  is  equally  convenient,  if  the  an- 
gle is  equally  good.     An  acute  angle  is,  however,  better  than  an  obtuse,  and 
hence  we  use  Ar  after  Te,  De,  Cha,  and  Ja,  and  Ra  after  Es  and  Ze.     An 
acute  angle  is  better  than  an  obtuse,  but  no  angle  is  better  than  either  ;  so 
Ein  —  En  is  better  than  Ma —  En  ;  but  Te  or  De  —  La  should  be  avoided ; 
but  they  are  used  in  a  few  words. 

31 


32  LINDSLEY'S  PHONETIC  SHORT-HAND. 

SECTION  2.     THA  AND  tha. 

In  the  Literary  Style,  we  use  the  signs  named  tha  and  tha,  for  the  German 
Bounds  of  ck  and  y  (iinal).  Since,  however,  we  use  them  in  the  reporting 
Btyle,  in  certain  cases,  lor  distinction,  and  to  form  more  luciie  outlines,  their 
use,  by  tlie  great  number  who  licvcr  c;uc  to  write  foreign  languages,  cannot 
be  objectionable,  even  in  the  Common  Style.  These  forms  are  just  the  re- 
verse of  the  alphabetic  signs.  They  should  be  used  only  in  cases  where  the 
other  forms  are  inconvenient,  as  after  Ra  and  En.  They  are  used  in  the 
words  they,  than,  then,  birth,  etc. ;  and  are  very  convenient  in  certain 
phrases,  as  in,  in  the,  on  the,  the  way,  the  war. 

We  will  add  the  following  rule  :  Use  Tha  and  tha  after  A,  Oo,  oo,  and  I ; 
and  Zhe,  Ish,  En,  Ing{  and  Ra ;  and.  before  Wa,  Ha,  Be,  Pe,  Zhe,  Ish,  En, 
Ing,  Ja,  and  Cha. 

A  similar  inversion  of  these  signs  takes  place  in  phonography,  where  the 
forms  for  th,  th,  f,  and  v  are  inverted  and  hooked  to  provide  the  signs  for 
thr,  fr,  and  vr. 

REMARKS.  —  When  a  word  is  found  that  occasions  any  difficulty,  it  should 
be  studied  carefully,  and,  when  understood,  rewritten  until  it  is  thoroughly 
mastered . 

After  the  first  ten  lessons,  the  student  should  write  from  dictation.  Tha 
reader  should  read  very  slowly  at  first,  and  gradually  increase  the  speed  with 
the  ability  of  the  writer. 

The  study  of  the  reading  exercises  should  keep  pace  with  the  writing. 
The  reading  and  the  writing  are  equally  important ;  neither  should  be  neg- 
lected for  the  other. 

EXERCISE  23. 

(a)  Emit,  improve,  ambition,  I'm,  aim,  among,  motive,  mutter,  mile, 
mute,  (b)  La,  lay,  land,  longitude,  lewd,  loud,  lee,  linnet,  laurel,  old, 
fool,  pull,  (c)  Ray,  radical,  roll,  raw,  ruddy,  ear,  irrelevant,  architectui-e. 
arrival,  Ireland,  endure,  arouse,  various,  poor,  carrier,  ream,  rill,  run,  raise, 
risk. 

2.  Wear,  rare,  pair,  Tory,  weary,  worry,  year,  yore,  your,  territory, 
chair,  jeer,  germ,  charm,  cherry,  tarry,  door,  doer,  attire,  tear,  tare,  ema- 
nation, emendation,  mention,  Delaware,  intelligence,  telegraph,  infidelity. 

J 

SECTION  2. 

Athens,  bathing,  writhe,  soothe,  tooth,  wisheth,  meaneth,  singeth,  fear- 
eth,  the  way,  the  war,  the  heart,  the  boy,  the  portion,  the  surest,  the  next, 
the  just,  the  charter,  the  means,  the  best  means,  the  day,  the  hour,  the  time, 
the  form,  the  vice,  the  system,  the  easiest,  the  right,  the  right  way,  the 
wrong  way,  the  credit,  the  germ,  the  claim,  the  grand,  the  glory,  the  praise, 
the  blessing. 


CHAPTER    IX. 

SPEED  IN  WRITING. 

SECTION  1.     Punctuation. 

THE  same  rules  for  punctuation  obtain  that  are  used  in  ordinary  writing 
and  printing,  and  the  same  characters  are  employed.  The  dash,  however, 
commences  with  a  waved  line  to  distinguish  it  from  a  Te  or  De. 

No  diaeresis  or  apostrophe  is  used ;  but  the  hyphen,  caret,  quotation 
points,  parenthesis,  brackets,  etc.,  may  be. 

SECTION  2.     Capital  Letters. 

For  common  practice  no  distinction  of  capital  letters  should  be  attempted. 
We  have  a  Literary  Style  designed  to  represent  the  language  more  accu- 
rately, as  also  foreign  languages,  in  which  the  capital  letters  are  distin- 
guished. 

SECTION  3.     Directions  for  Future  Practice. 

This  style  properly  reduced  to  practice  is  capable  of  great  rapidity  as  well 
as  ease  and  freedom  in  writing.  No  person  of  ordinary  nerve  should  rest 
satisfied  with  less  than  three  times  his  speed  in  long-hand,  and  all  may  go 
considerably  beyond  this,  unless  they  contract  their  long-hand  writing. 
But  it  is  difficult  to  instruct  the  writer  in  the  laws  of  speed  by  a  word  of  ad- 
vice. To  make  the  advice  of  any  value,  it  must  be  followed,  —  followed 
thoroughly  and  persistently. 

We  will  suppose  that  the  student  has  gone  through  with  the  exercises  in 
this  compendium,  and  understands  clearly  all  the  principles  of  the  art ;  that 
he  has  a  free  and  ready  use  of  the  pen,  avoiding  a  cramped  position  of  the 
hand  or  body,  and  has  trained  himself  to  accuracy  of  form.  He  should  now 
go  back  to  the  alphabet,  and  see  that  he  can  write  it  with  the  most  perfect 
readiness.  He  should  be  able  to  write  the  forty-two  characters  in  fifteen 
seconds.  He  should  then  proceed  to  the  compound  signs,  and  acquire  the 
same  skill  in  their  use,  writing  them  all  in  about  twenty-five  seconds.  Next 
the  consonant  forms  that  unite  without  an  angle  should  be  subjected  to 
drill  until  the  two  can  be  struck  with  the  same  readiness  as  the  single  let- 
ters. All  ordinary  combinations  of  the  vowels  with  the  consonants  should 
next  be  mastered  with  equal  perfectness.  Such  syllables  as  are  found  in  the 
first  easy  lessons  of  some  spelling-book  (we  prefer  the  Elementary  Spelling- 
Bonk  by  Webster)  — ba,  be,  hi,  bo,bu,  ab,  eh,  ib,  ob,  ub,  etc.  — are  excellent 
for  this  purpose.  The  student  who  wishes  to  become  a  rapid  writer  should 
have  such  easy  syllables  read  to  him  until  he  can  write  them  as  rapidly  as 

33 


34  LINDSLEY'S  PHONETIC  snoRT-iu_s*D. 

an  ordinary  read  >r  cnimoiatcs  them.  He  should  then  proceed,  writing  from 
dictation,  with  words  of  three  letters,  following  the  course  of  the  spelling- 
book  ;  and  with  frequent  reviews,  rewriting  the  same  thing  from  ten  to 
twenty  times,  go  through  the  spelling-book.  He  will  now  be  prepared  to 
take  up  phrase  signs.  These  should  be  read  to  him,  at  first  from  the  com- 
pendium, and  afterward  from  some  simple  elementary  book.  The  student 
should  proceed  from  this  to  passages  from  the  Bible,  —  extracts  from  the 
Gospels,  the  Psalms,  or  Job, — and  from  such  easy  beginnings  advance  to  more 
difficult  works,  according  to  his  taste. 

If  this  way  seems  long,  we  can  assure  the  student  that  it  will  pay  much 
better  than  to  blunder  on  a  year  or  two  in  a  slow  and  uninteresting  way. 
Some  pupils  acquire  a  rapid  style  with  much  less  practice  than  Indicated 
here  ;  yet  we  do  not  doubt  that  the  beet  would  do  still  better  with  this  thor- 
ough preparation. 

We  must,  also,  here  protest  against  a  too  prevalent  idea  that,  while  teach- 
ers are  necessary  in  all  other  arts,  sciences,  and  pursuits,  the  art  of  short- 
hand is  so  much  more  easily  acquired  than  any  other  that  no  teacher  is  nee-- 
essary.  Probably  most  students  will  master  the  art  under  a  competent 
teacher  in  one  fourth  the  time  that  they  would  niaeter  it  relying  only  on 
their  own  quickness  of  perception. 


A  PARTIAL  KEY  TO  THE  READING  EXERCISES. 
[The  figures  refer  to  the  line..] 

BEADING  "EXERCISE  FIRST. 

I.  Ape,  ache,  pay,  gay,  day.     Be,  fee,  she,  thee,  key,  see.     Coo,  co,  caw, 
dough,  toe,  daw.     Oat.     2.  Me.  may,  nay,  know,  shay,  show,  etc. 

II.  On,  odd,  of,  upon,  fob,  cot,  God,  on,  awn,  don,  dawn,  long,  lawn,  etc. 
17.  Ebb,  egg,  beg,  ed,  said,  etc.     18.  Air,  fair,  tare,  rare,  etc. 

READING  EXERCISE  SECOND. 

1.  Pt,  bk,  gp,  bth,  kth,  etc.  -2.  Gn,  kng,  kn,  gf,  bn,  etc.  3.  Mth, 
mth,  mf,  mv,  ml,  etc.  4.  In.  fin,  seen,  mean.  As,  last,  mast,  etc.  5.  Pat, 
par,  bad,  bar,  cat,  pack,  pa,  bah,  king,  wisdom,  etc.  7.  Did,  deed,  rid,  reed, 
etc.  8.  By,  ice,  etc.  10.  Open,  poem,  pope,  etc.  12.  Aid,  made,  etc. 
13.  Deity,  theism,  etc. 

READING  EXERCISE  THIRD. 

The  Wa,  El,  Ra,  and  Es  Series.  2.  The  Wa  Series  :  Wh  for  hw],  gw, 
kw,  dw,  tw,  thw,  —  Why,  which,  when,  where,  language,  entwine,  etc. 

4.   The  El  Series  :  Bl,  pi,  gl,  kl,  and  fl,  —  Glow,  glee,  clay,  etc. 

6.   The  Ra  Series  :  Br,  pr,  gr,  kr,  dr,  tr,  etc,  —  Brew,  prow,  grew,  etc. 

8.   Tlie  Es  Series :  sp,  sk,  st,  sf,  sn,  si,  sw,  etc. 

10.  The  diphthongal  signs  :  Spr,  skr,  str,  spl,  —  Spread,  spring,  screen, 
etc. 

13.  Final  compounds.  Of  the  Es  Series  :  Ps,  bz,  ks,  gz,  ts,  dz,  fs,  vz, 
ths,  thz,  mz,  ns,  nz,  Is,  Iz,  rs,  rz,  —  Hopes,  hubs,  etc. 

17.  Of  the  El  Series:  Bl,  pi,  gl,  kl,  vl,  fl.  Ra  Series:  Br,  pr,  gr,  kr, 
dr,  tr,  vr,  fr,  thr,  thr,  zhr,  shr,  and  nr.^.  19.  Noble,  opal,  angle,  etc. 
Member,  upper,  eager,  locker,  order,  etc. 

READING  EXERCISE  FOURTH. 

1.  Union,  united,  allude,  allusion,  assiduous,  manumitted.  2.  New,  new- 
year,  N.  Y.,  N.  J.,  nice,  sign,  piety.  Any,  many,  money.  3.  Do,  to, 
which,  that,  what,  not,  for,  from,  was,  one,  once,  done,  where,  there,  would, 
coi.ld,  should,  when,  said,  unto,  were,  her,  sir.  5.  Reason,  mason,  nation, 
etc.  20.  Ad  infinitum,  In  propria  persona,  etc. 

READING  EXERCISE  FIFTH. 

It  is,  it  was,  it  may  be.  (NOTE.  —  Some  of  these  phrases  are  written  out 
with  the  words  separated.  When  this  is  done,  a  semicolon  follows  the 
phrase  sign  in  the  text.)  It  will  be,  it  would  be,  it  can  be1,  it  could  be,  etc. 

READING  EXERCISE  SIXTH. 

1.  In  the  begirining  was  the  Word,  and  the  Word  was  with  God,  and  the 
Word  was  God,  etc.     (See  St.  John's  Gospel,  1st  Chapter.) 
15.  TH,  th.     They,  than,  then,  birth,  worth,  etc. 


5.    V  \ 


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RECOMMENDATIONS. 

From  the  Boston  Cultivator. 

"  Of  the  coming  great  reform  in  written  language,  there  can  be  no  more 
doubt  than  of  its  universal  need,  and  in  future  we  shall  be  glad  to  be 
counted  among  its  earliest  friends."" 

From  T.  J.  Stevens,  Mechanicslurg,  Penn. 

"  My  first  impression  of  your  system  of  Short-Hand  was  that  you  had  laid 
Phonography  over  on  its  side.  It  embodies  more  horizontal,  running  char- 
acters than  Pitman's  System,  whose  perpendicular  stiffness  retards  the  hand 
in  its  forward  movement." 

From  X.  Chandler,  of  Baltimore,  Md. 

"  I  have  ever  been  desirous  of  obtaining  a  knowledge  of  some  system 
which  would  not  require  the  vast  amount  of  practice  which  is  indispensable 
in  turning  Pitman's  System  to  practical  account." 

From  Bryant,  Stratton,  &  Co.'s  Com.  Col.  Monthly,  Hartford,  Conn. 
"  Mr.  Lindslcy  has  got  down  to  the  root  of  the  difficulty.     He  has  made 
one  of  the  most  difficult  subjects  one  of  the  simplest.     Henceforth  no  one 
need  try  to  learn  Short-Hand  in  vain.     His  system  can  be  learned  with  less 
labor  than  the  common  long-hand." 

From  the  New  Haven  Journal  and  Courier. 

"  Every  editor,  lawyer,  and  minister  knows  the  advantage  of  a  knowledge 
of  short-hand  writing,  and  this  is  certainly  the  best  system  that  ever  came 
under  our  notice.'' 

From  Rev.  George  Hopkins,  A.  M.,  Principal  of  Woodstock  Academy. 
"  I  am  in  favor  with  your  system,  though  I  have  both  used  and  taught 
Pitman's." 

From  R.  E.  Van  Gieson,  M.  D.,  Englishtoicn,  .V.  J. 

"  I  freely  confess  that  I  expected  to  be  disappointed  in  Tachygraphy.  It 
therefore  gives  me  the  more  pleasure  candidly  to  acknowledge  that  I  am  not 
.only  not  disappointed,  but,  on  the  contrary,  agreeably  surprised  at  the  sim- 
plicity and  accuracy  of  your  system." 

From  Increase  X.  Tarbox,  Sec.  A.  M.  Ed.  Society. 

"  I  am  satisfied  that  it  {Lindsley's  Phonetic  Short-Hand)  is  a  clear,  sim- 
ple, and  well-devised  system  ;  that  it  is  easily  acquired  and  wisely  adapted 
to  meet  the  wants  not  only  of  reporters,  but  of  clergymen,  lawyers,  and  gen- 
eral students." 

From  J.  F.  Gould,  M.  D. 

"Your  System  (of  Short-Hand)  is  much,  very  much  superior  to  Pit- 
man's. It  is  less  complicated,  more  legible,  more  rapidly  written  than 
either  Mr.  Graham's  or  Mr.  Pitman's  Systems.  To  students,  while  attend- 
ing lectures  of  any  kind,  it  offers  great  inducements,  and  will  prove  of  value 
in  the  performance  of  the  duties  of  a  professional  life." 


TERMS    OF    INSTRUCTION 

IN 

PHONETIC    SHORT-HAND. 


(  »iu-  ^luntli  l»        •  ..... 

Full  course  in  tin.-  Common  Style  of  T.ichyirraphy.  time  unlimited,    .      2 
......  .   Easy  Reporting  Style,   '.         .  ' 

Special  course  in  Law  ]{i  porting,          .......      M.  on 


in 

Where   l.p  arr  formed   in    Schools,    Colleges    and    i 

without  expense  to  us.  we  are  able  to  reduce  the.-c   rate.s   in   ratio   to  tin 
of  the  class. 

For  a  course  of  10  Lessons.  in  a  eki.-s  i>f  less  than  L'.">  pupils. 
Class  of  L'.".  pupils,          ...  ....  .     -(.on 

•-     •-  80  ..........     3.Y& 


1'rivate  Lessons.  .^1.00  lor  each  half  hour's  instruction. 


To  accommodate  a  lartre  class  of  |  ujiils,  in  all  parts  of  the  country,  who 
can  neither  attend  the  Boston  Phonic  School,  nor  any  class  that  we  can  reach. 
we  have  made  arrangements  to  ijivc  lessons  liy  mail.  Hundreds  ot'  our  liest 
pupils  have  taken  instruction  in  this  way  with  (lie  greatest  success.  It  i.-  the 
most,  economical  method  for  the  Mudent,  and  adds  hut  little  to  the  labor  of 
the  teacher.  Course  of  10  Les-ons,  by  mail.  .•jji.l.OO;  full  courses,  as  abovv. 
'.00.  Add; 

3D.    I3 


Boston  Phonic  School,  Boston,  M 


X.  B.     Tl."  following  works  are  used  by  students  of  the  art  :  — 

TlIE    C.OMIT.NH1I  -,M    OF    l.INHSI.l   l'.s     I'lroNKTIc    Si   (iin-l 

AI.IMIUIII  per  do/en.       .... 

Tin:   KUMD    \Vi;iri;i;   Movnn.'i  .  ]icr  annum, 


Tin;  TA<  n  v  i.UM'iii.i;  (in  Short-han."   character),  monthly.  ]>er  annum. 

Tin:   Ki.KMi.Nis    OF    Lixnsi.i:C-    N  i;w   I'n'o.r/iic    SIIO;;T-H,\NI>   is  desi 
to  jiive  the  fullest  instruction    j..'---iitlc  to  t!.o>e  who   have  no  other  aid  in  ac-' 
(juiriim  tlie  art  :   this  work  will  •  in  the  pages  of  the  RAPID  WniTEB 

and  TACIIVOU  UMIKI;. 

A  CoMri  M>  <>r  i  n     i  ;   OF  TACHTGRAPIIY  will  be  pub- 

lished early  tills  Fall.     IV  be  printed  throughout  in  Short- 

hand characters,  and  d.  who  have  alresidy  mastered 

the  Common  Style.     Sold  only  :ption:    those  who  Avi.-h  it  .-hould 

in  their  orders  t-arly.  as  hut  few  extra  copies  will  he  printed. 

The  second  edition  of  the  Compendium,  revised,  enlarged,  r.nd  better^  suited 
to  aid  those  who  cannot  avail  themselves  of  the  services  of  a  teacher,  is  nn\v 

• 

A  liberal  deduction  will  he  made  in  favor  of  teachers,  both  from  the  ti 
of  instruction  and  the  price  of! 
•its  wanted  everywhere.     Ad 


4024 

UNIVERSITY  of  CALIFORNIA 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

Los  Angeles 
This  book  is  DUE  on  the  last  date  stamped  below. 


Form  L9-25m-9,'47(A5618)444 


NX 


OR 

LINDSLEY'S  PHONETIC  SHORT-HAND 

The  public  groan  to  be  delivered,  from  the  drudgery  of  long-hand 
writing.—  He  v.  P  C 


THE  absolute  necessity  for  a  more  rapid  and  easy  style  of  writing  than 
the  one  in  common  use  is  becoming  every  day  more  apparent.  Of  all 
kinds  of  manual  labor,  that  of  writing  is  the  most  exhausting  and  unmiti- 
gated. Many  kinds  of  labor  are  healthful,  but  the  constrained  position  of 
the  writer,  and  his  use  of  one  set  of  muscles  while  the  others  arc  inactive 
debilitates  the  nervous  system  and  destroys  the  health. 

All  classes  of  community  need  a  briefer  style  of  writing.  Especially 
our  clergymen  and  lawyers,  editors  and  authors,  need  a  style  of  writing 
that  will  materially  lessen  the  labor. 

Many  efforts  to  provide  such  a  system  have  been  made,  but  the  systems 
offered  have  been  either  too  illegible*  to  be  of  general  use,  or  too  compli- 
cated to  be  readily  reduced  to  practice.  We  now  present 

A  NEW  SYSTEM  OF  PHONETIC  SHORT-HAND. 

The  author  of  this  system  was  a  writer  and  teacher  of  Mr.  Pitman's 
Phonography  for  several  years.  Learning  from  long  experience  that  it 
was  impossible  to  give  his  pupils  any  skill  in  that  art  without  years  of 
practice,  he  commenced  about  seven  years  ago  to  simplify  it.  He  has  suc- 
ceeded beyond  his  most  sanguine  expectations.  He  has  succeeded  in  form- 
ing a  system  on  an  entirely  new  basis,  as  much  more  scientific,  simple  and 
practicable,  than  Mr.  Pitman's,  as  his  is  more  scientific,  simple  and  practi- 
cable, than  the  arbitrary  stenographies  of  former  ages.  It  differs  from  Mr. 
Pitman's  system  in  the  following  results : 

1st.  IT  IS  MORE  EASILY  READ.  Each  sound  is  clearly  and  fairlj 
written  in  the  common  style,  without  word-signs  or  contractions ;  while  the 
easy  reporting  style  is  equally  definite  and  certain,  containing  no  equivocal 
forms. 

2d.  IT  IS  MORE  RAPIDLY  WRITTEN  TITAN  HIS.  The  simplest 
style  can  be  written  nearly  twice  as  rapidly  as  Mr.  Pitman's  simplest  style, 
and  the  reporting  style  25  to  30  per  cent,  faster  than  his  reporting  style. 


Sd.  IT  IS  MORE  EASILY  REDUCED  TO  PRACTICE.  The  simplest 
style  can  be  mastered  in  a  small  fraction  of  the  time  required  to  master 
the  corresponding  style  of  the  old  Phonography,  while  the  labor  of  learning 
the  reporting  style  is  reduced  more  than  one-half. 

There  arc  other  points  of  difference,  almost  equally  important, 

Thus,  American  citizens,  we  are  permitted,  through  the  good  providence 
of  God,  to  offer  you  a  style  of  writing,  by  which  in  its  simplest  form  you 
can  save  two-thirds  of  the  time,  and  eight-ninths  of  the  labor  of  writing; 
a  style  perfectly  legible,  and  as  fully  written  as  the  common  writing;  and 
above  all,  a  style  which  you  will  not  attempt  to  learn  in  vain. 

The  art  of  short-hand  is  now, /or  the  first  time  in  the  history  of  the 
world,  adapted  to  general  use,  and  within  the  reach  of  all.  Every  child 
in  the  land  can  now  readily  master  it.  Its  use  need  not  be  confined  to  re- 
porters, nor  yet  to  professional  and  literary  men,  but  must  become  general 

ANSWERS    TO    INQUIRIES. 

"What  use  can  I  make  of  Tachygraphy ?"  Why,  my  Dear  Sir! 
What  use  do  you  make  of  Longhand?  Use  Tachygraphy  for  the  same 
purposes— for  keeping  book  accounts  in  your  business,  and  business 
memoranda — for  making  extracts  from  books  and  papers,  and  keeping  a 
diary — for  correspondence — for  writing  lectures  and  sermons — for  taking 
notes  of  the  testimony  of  witnesses — and  for  other  purposes  for  wh ich 
Longhand  will  not  mffice,  such  as  taking  down  Sermons,  Lectures,  &c., 
verbatim. 

"  Can  I  remember  your  system?"  You  cannot  forget  it  while  you 
remember  the  alphabet,  for  there  are  no  irregularities  to  forget. 

"Can  children  learn  the  art?"  Yes;  they  ought  to  learn  it  between 
the  ages  of  12  and  18  years,  and  in  some  cases  would  do  well  to  learn  it 
younger.  Students  should,  if  possible,  learn  it  before  commencing  their 
higher  courses  of  study.  If  they  have  failed  to  do  this,  the  sooner  the 
better;  but  none  need  despair  of  learning  it  at  any  age,  if  they  have  suf- 
ficient leisure.  "If  I  had  as  many  sons  as  King  Priam  ^  I  would  have 
them  all  taught  the  glorious  art  of  Phonography." — C.  Edwards  Lester. 

"  Can  you  tell  me  just  how  long  time  it  will  take  to  master  the  art  V" 
Very  nearly.  If  you  will  devote  two  hours  a  day  to  it  for  one  month, 
you  can  learn  its  principles  thoroughly,  and  write  and  read  it  readily, — 
somewhat  faster  than  the  common  hand.  When  you  have  attained  this, 
you  can  double  that  speed  by  proper  practice  in  a  fortnight,  and  within 
two  or  three  months  you  can  write  three  times  as  fast  as  by  the  common 
hand.  This  is  a  safe  estimate ;  you  may  do  better  than  this,  b'ome  of 
my  pupils  have  acquired  the  principles  with  20  hours'  practice. 

LESSONS    WITHOUT    A    TEACOEK. 

"Can  I  learn  the  art  without  a  teacher?"  I  can  not  tell  you.  Very 
few  are  sufficiently  self-reliant  to  persevere  with  an  art  or  science  alone ; 
and  if  you  could  succeed  alone,  you  can  succeed  in  half  the  time,  and 
with  half  the  labor,  under  proper  instruction.  If  you  can  obtain  the 
services  of  an  instructor  it  will  save  you  ten  times  the  amount  of  his  bilL 
If  you  can  not,  success  is  possible  without  such  aid. 


TERMS   OF   INSTRUCTION 

riN 

PHONETIC    SHORT-HAND. 


One  Month  (20  Lessons  in  Class),      .......  $10.00 

Full  course  in  the  Common  Style  of  Tachygraphy,     ....      25.00 

"         "          "      Easy  Reporting  Style,     ......     50.00 

«<         «  ••  Reporting        «<          ......      75.00 

ILessons    In    Schools. 

"Where  large  classes  are  formed  in   Schools,  Colleges  and  Universities, 
•without  expense  to  us,  we  are  able  to  reduce  these  rates  in  ratio  to  the  size 
of  the  class. 

For  a  course  of  10  Lessons,  in  a  class  of  less  than  25  pupils,  .  $5.00 

Class  of  25  pupils,          ........  .      4.00 

"      "  30       "  ..........      3.75 

"      "  40       "  ..........      3.25 

«      "   50       "  ........  3.00 

Private  Lessons,  $1.00  for  each  half  hour's  instruction. 

Lessons    toy    3ruil. 

To  accommodate  a  large  class  of  pupils,  in  all  parts  of  the  country,  who 
can  neither  attend  the  Boston  Phonic  School,  nor  any  class  that  we  can  reach, 
we  have  made  arrangements  to  give  lessons  by  mail.  Hundreds  of  our  best 
pupils  have  taken  instruction  in  this  way  with  the  greatest  success.  It  is  the 
mo.-t  economical  method  for  the  student,  and  adds  but  little  to  the  labor  of 
the  teacher.  Course  of  10  Lessons,  by  mail,  $5.00;  full  courses,  as  above, 
$25.00  and  $50.00.  Address 

ID.    F 


Boston  Phonic  School,  Boston,  Mass. 


X.  B.     The  following  works  are  used  by  students  of  the  art :  — 
THE  COMPENDIUM  OF  LINDSLEY'S  PHONETIC  SHORT-HAND,         .         .  $1.0C 
ALPHABET,  lOcts. ;  per  dozen,      . 75 

The  Compendium  gives  a  clear  statement  of  all  the  principles  of  the 
common  style  of  the  art.  This  style  is  the  only  one  of  importance  to 
teachers.  Its  leading  ideas  are  accuracy,  simplicity,  practicability.  It 
is  written  three  to  four  times  as  fast  as  long-hand. 

Teacher,  you  can  learn  the  art  from  this  little  book,  and  teach  it  to  your 
pupils.  You  can  do  nothing  that  they  will  so  surety  thank  you  for. 
Your  pupils  are  looking  to  you  for  every  educational  facility ;  if  you  leave 
them  to  start  upon  life  with  our  burdensome  system  of  chirography,  they 
will  live  to  curse  their  early  training,  as  thousands  now  do  for  the  want 
of  advantages  that  our  schools  now  freely  confer.  You  have  tried  to  in- 
troduce other  systems  and  failed  ?  Very  well !  There  surely  comes  a  day 
in  the  history  of  every  valuable  art  when  it  casts  off  its  encumbrances  and 
becomes  available.  That  day,  in  the  history  of  short-hand,  has  come. 


TESTIMONIALS   IN  FAVOR  OF  TAT    '  GHAPHY. 

From  Rev.  WILLIAM  PITTEXCKR,  of  Cadiz-  Ohio,  au'hor  of  "  Daring 

and  Suffering,  or  the  Great  linn:-  '  '  A  a  venture." 
I  had  labored  so  long  at  Phonography,  devoting  to  it  during  a 
period  of  seven  years  enou-rii  ~.iidyto  have  mustered  the  learned 
languages,  and  yet  -without  1-ecoming  a  rapid  writer,  that  I  had 
concluded  that  Short-Hand  v,u>  not  within  the  reach  of  the  common 
mind  ;  yet  he  (Mr.  Liudsley)  assured  me  that  I  would  find 
Tachygraphy  easier,  and  I  was  at  last  induced,  very  reluctantly,  to 
give  it  a  trial.  The  result  surpassed  his  promises.  Before  I  had 
given  it  one-hundredth  part  the  attention  I  had  bestowed  upon 
Phonography,  I  wrote  it  with  an  ease  and  rapidity  I  never  could 
command  in  that  other  style.  Since  then  I  have  used  it  almost 
constantly,  and  have  become  -perfectly  convinced  that  Lindsley  has 
solved  the  great  problem  of  rapid  writing,  and  invented  a  Short- 
Hand  that  r;r.i  be  as  easily  learned  and  read  as  long-hand,  and 
written  with  all  desirable  speed. 

From  GEORGE  W.  CLARK,  A.  M.,  Professor  of  Latin  and  Greek  in 
Mount  Union  College,  Ohio. 

I  have  been  a  teacher  of  Phonography  for  a  number  of  years  past, 
and  have  taught  hundreds  in  my  classes,  but  cannot  report  very 
favorably  in  regard  to  what  we  have  accomplished.  I  think  I  do 
not  now  know  more  than  five  or  six  in  all  who  use  the  art.  I  am 
much  delighted  with  Tachygraphy.  I  am  now  teaching  my  third 
class,  and,  out  of  all  I  have  taught,  there  are  but  two  or  three  who 
do  not  write  it  well. 
From  Rev.  N.  P.  CHARLOT,  Rector  of  St.  PauVs,  Collamer,  Ohio. 

I  look  upon  your  system  of  Short-Hand  as  one  of  the  greatest 
improvements  of  the  age  in  which  we  live  ;  not  merely  because  it 
diminishes  so  materially  the  amouu*  of  labor  to  be  performed  by 
those  who  write  much,  but  because  it  presents  words  to  the  mind 
as  the  medium  of  thought  ;  not  deformed  by  many  useless  letters, 
but  in  the  simple  and  meaning  garb  of  the  sounds  properly  belonging 
to  them. 


ose  wishing  to  learn  the  art  should  send  for  the  Com- 
pendium of  Tarhygniphy.  .Paper,  Si  :  hoards,  81.  '2-~>. 

AYe  can  also  furnish,  in  phonetic  print,  Magnus  Maharba  and  the 
Jjlack  Dragon,  an  Allegory  of  the  "War.  Price  oO  cents.  This  is  a 
really  charming  book.  Nothing  has  appeared  in  allegory  so  inter- 
esting since  the  immortal  Bunyau  ;  and  it  gives  a  better  and  truer 
picture  of  the  war,  its  causes  and  results,  within  120  pages,  than  the 
larger  and  more  ambitious  works. 

Also,  The  Phonetic  Primer,  by  Rev.  J.  C.  Zachos.  Price,  50  cts. 
This  primer  indicates  silent  letters  by  Italics,  and  presents  an  easier 
method  of  teaching  children  or  foreigners  to  read  our  wretchedly 
irregular  orthography,  than  the  justly-admired  phonetic  plan,  since 
no  transition  readers  are.  necessary.  We  commend  the  work  to 
teachers  and  parents.  Address  D.  P.  LINUSLEY,  Brighton,  Mass. 


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The  coinpendium 


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